Established since the late eighteenth century in Campo das Hortas, Casa Grande is one of the many marks of power that, over time, the deans of the Cathedral of Braga impressed the city. It was its proponent D. António Alexandre da Cunha Reis da Mota Godinho who, for such, acquired this property in Campo das Hortas, where he built the property we still know today and was considered, at the time, as one of the most significant constructions in the area. extramurals of Braga.
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The Residence of Biscainhos (Portuguese: Casa dos Biscainhos/Museu dos Biscainhos), is a former-signeurial residence located in civil parish of Braga (Maximinos, Sé e Cividade), in the municipality of Braga, in northern Portuguese district of Braga.
History
In 1665, Maria da Silva e Sousa married Dr. Constantino Ribeiro do Lago (1619-1686), who was one of the most important civil personalities in Braga. He was a Knight in the Order of Christ, alcalde of Ervededo, Overseer and Judge of Braga, Chancellor of Relação, attorney-general of Mitra, represented the city in the 1667 Cortes in Lisbon. Lago ordered the construction of a residence, that was likely constructed by Basque artisans from the province of Biscay, then working in the cathedral of Braga, resulting in its name, Biscainhos. The work was concluded in 1699 by his son, Diogo de Sousa da Silva, who was also a knight in the Order of Christ.
In the 18th century, over three generations, the residence was passed-on through the matrilineal descendant of the family.
On 26 November 1712, Francisco Pereira da Silva (who was the Dean of the Cathedral of Braga) signed a contract with mason Manuel Fernandes da Silva, to expand the residence along Rua dos Biscaínhos, the second executed to that effect. In the course of this work, a ceiling painting in the main hall was executed by painter Manuel Furtado de Mendonça (in 1724), and later, azulejo tile, which came from fabricators in Coimbra.
In the intervening years it passed-into the possession of various illustrious owners. António Pereira Pinto de Eça, was administrator of the second founding of Bertiandos. João Pereira Forjaz Coutinho, was the son of the Secretário dos Negócios Estrangeiros, da Guerra e da Marinha (Secretary for International Affairs, War and the Army). Damião Pereira da Silva de Sousa e Menezes (1764-1835) was administrator of the first founding of Bertiandos. Gonçalo Pereira da Silva de Sousa e Menezes (1797-1856), Count of Bertiandos, member of the council of Queen D. Maria II, Peer of the Kingdom, Civil Governor of Braga and attorney of the 1928 Cortes. His daughter, Joana Maria do Rosário Francisca Sales Pereira da Silva de Sousa e Menezes (1818-1874), second Countess of Bertiandos, lading-in-waiting of Queens D. Estefânia and D. Maria. Her nephew, Gaspar Lobo Machado do Amaral Cardoso de Menezes, 3rd Viscount of Paço de Nespereira was the last member of the family to be owner of the Residence of Biscainhos.
The dominant period of its history occurred in the 18th century, resulting in exquisite Baroque interiors that included azulejos, ceilings with beautiful relief stucco work and paintings of the period. It was also framed by the magnificent gardens.
In 1963, the building was acquired by the District Junta from the Viscount of Paço de Nespereira, in order to install a museum, with work initiated under the responsibility of Alberto da Silva Bessa. On 11 February 1978, the Museum of the Biscaínhos was opened to the public. Due to the financial incapacity of the district junta, by decree 133/87 (18 March) the building was placed into the management of the IPPAR Instituto Português do Património Cultural (Portuguese Institute of Cultural Patrimony). During this time, the exterior facades were repaired and the paintings in the halls were repaired. But, on 9 August 1991, it was succeeded by its transfer into the management of the Instituto Português de Museus (Portuguese Institute of Museums), in decree 278/91 (Diário da República, Série-1A), and later (29 March 2007), to the Instituto dos Museus e Conservação, I.P. (Institute of Museums and Conservation) by decree 97/2007 (Diário da República, Série 1, 63).
Architecture
The building is located in an isolated context, situated outside the walls of the ancient city, in an area that was formerly rural, but absorbed into the city of Braga overtime, today inserted in what is considered the historic centre, addorsed to other constructions.
The large entranceway was structured in a way to permit carriages, and other vehicles, to enter by way of a covered patio, that served simultaneously as principal entrance and passage to the stables and gardens. The space is covered in grooved, non-slip, granite slabs and arch-shaped entrances with granite pilasters. In each of these pilasters there are small statues of a page or knight in costume from the 18th century.
The first floor of the main body of the house includes seven rooms. The azulejo hall is of particular interest: it is a large space, about 13 metres (43 ft) long, covered in azulejo tile, with its ceiling covered in painted wood, representing the history of the illustrious, and much venerated, Bracarense Beato Miguel de Carvalho. Next to this a smaller room, painted with mythological motifs, but from a later period. The set of rooms arranged along the garden, especially the dining room, is furnished and decorated with pieces dating from the beginning of the 18th century and the beginning of the 19th. The romanticised scenes, painted on canvas, evoke themes about ruins and fantastical stories.
Garden
About a hectare in the rear of the house was surrounded by walls and divided into landscaped terraces. On the opposite wall is a polygonal structure of buttresses which, together with its crowning of battlements and sentries located at the angles, gives it an aspect of a 16th century fortress. Inside the bulwark's simulacrum is a small temple with dome and lantern, that contains sepulchral slabs dedicated to the former-gentry the masters of the house. The estate is divided into three terraces, rising slightly from the house to the west, separated by walls crowned with tile planting boxes.
The terraces are supported by decorative granite columns that are arranged along the walls and terraces of the estate. Of these terraces, the lower two were cultivated with vegetables and orchard, divided into blocks flanked by boxwood stools. The upper terrace is occupied by the garden itself and by a terrarium that separates it from the house. It occupies a rectangular terrace surrounded by a wall with tiled floor, decorated pyramids, urns and statuary statues, over the access gates, on the side viewpoints and at the angles, together with the raised beds. Inside the flower beds, are five bowls with water springs, similar to those introduced by Muslims during the 8th century, in the Rocaille style. Among the species in the garden are stands of tulip poplar (Liriodendron tulipifera) that were contemporary to the initial plantation.
The Museum
The museum exhibits, on a permanent basis, collections of decorative arts, integrated into the structure of the 18th century northern manorhouse. Its collection includes furniture, ceramics, European and Oriental porcelain, glassware, and examples of European and Portuguese watches and clocks.

The Residence of Biscainhos

The Archiepiscopal Palace of Braga (Portuguese: Paço Arquiepiscopal de Braga), is a Portuguese episcopal palace in civil parish of Braga (São José de São Lázaro e São João do Souto), in the municipality of the same name, in the northern district of Braga.
History
The Bishopric of Bracara was founded in 388 by Paternus, who became the first bishop of Braga. Officially, the archbishopric of Braga was founded in 1071, turning D. Pedro its first archbishop. Between 1096 and 1112, Count D. Henrique and Countess D. Teresa were the masters of Braga, leading in 1112 to a letter donating the city to the archbishops, instituting an ecclesiastical fiefdom, that would last to the 18th century. D. Maurício Burdino became the first ecclesiastical master of Braga. On 27 May 1128, Archbishop D. Pai Mendes received a confirmation letter to expand church lands, along with the privilege to mint coin, in recompense for his support of D. Afonso Henriques' revolt against his mother, the Countess D. Teresa.
In 1327, D. Afonso IV invaded the jurisdiction of then-archbishop D. Gonçalo Pereira, grandfather of D. Nuno Álvares Pereira, nominating public notaries to the crown for Braga. The archbishop excommunicated and expelled these notaries from the city. This antagonism resulting from these acts never diminished, and in 1341, when regal authorities entered the new city, the archbishop excommunicated them as well. As a consequence, the Corregedor Afonso Domingues took the castle and municipal hall, which were much later returned to the archbishop by D. Afonso IV. It was following this antagonism that the construction of the primitive archiepiscopal palace was begun, by Archbishop D. Gonçalo Pereira in 1336.
In 1361, D. João de Cardaillac, began to use the title of Arcebispo Primaz das Hespanhas (Archbishop Primate of the Hispanias). In 1402, the archbishop, D. Martinho Afonso de Miranda, ceded jurisdiction of the city to the Crown, in exchange for land rents and other concessions. At that time regulations obliged farmers and craftsmen to support the repair of the palace. Between 1422 and 1436, Archbishop D. Fernando da Guerra, great-grandson of D. Pedro I and D. Inês de Castro, ordered the reconstruction and expansion of the archiepiscopal structure, with Gil Vasques (carpenter), Fernão Martins (master of public works) and João Gonçalves (stonemason) steering the build. By 1439, the tower was concluded.
In 1472, D. Afonso V restored to the archbishop D. Luís Pires, the temporary jurisdiction of Braga and its surroundings to the archbishopric, allowing the archbishops to use the title Senhores de Braga e Primazes das Hespanhas (Masters of Braga and Primates of Hispania). Yet, this détente was short lived; D. Fernão de Lima, a noble who lived in Braga, began a war with the Archbishop, resulting in various bloody skirmishes between the two factions. By 1478, the Duke of Braganza put an end to the battles between the Archbishop and Lima.
Between 1505 and 1532, Archbishop D. Diogo de Sousa ordered changes at the palace, including the erection of the Fonte dos Castelos, in the Largo do Paço, which lead to the 1545-1549 construction of the northern wing, by Archbishop D. Manuel de Sousa and the 1594 construction of the western wing in the Largo do Paço, by Archbishop D. Agostinho de Jesus.
In 1709, Archbishop D. Rodrigo de Moura Teles expanded the building, altering the facades of wings oriented to the Largo do Paço and erecting a chapel. Between 1740 and 1750, the Archbishop of D. José de Bragança, further expanded the palace, ordering the construction of the Baroque wing oriented to the municipal square. This was further enriched between 1758 and 1789, when Archbishop D. Gaspar de Bragança expanded the library, with a number of notable documents.
In the second half of the 19th century, D. Miguel and his cortege installed himself in the archiepiscopal palace, spending his time in Braga at the bullfights in the municipal square. By 1834, the archbishops were confined to the wing overlooking the eastern edge of the Largo do Paço, as the prefecture of Minho is installed in the building, with much later the Civil Governor of Minho and offices of other services. On 15 April 1866, there was a violent fire that destroyed the Baroque wing oriented towards the municipal square, in addition to the contents of the D. Gaspar de Bragança's library, gutting his collection. By 1871, the ruins of the wing were demolished and the many of the stones collected.
By 1903, many of the facades exposed to the Largo do Paço were plastered and painted, with the walls constructed from wood and mortar. In 1911, the archbishops were expelled definitively from the episcopal palace, and the 8th infantry regiment, courts and municipal firefighters installed in the building. By order of the Comissão Central dos Bens Eclesiásticos (Central Commission for Ecclesiastical Property) on 18 November 1912, following the upheaval caused by the Republican revolution and schism with the church, many of the possessions of the clergy were sold off, including five fountains in the interior gardens (to the Brotherhood of Senhora do Parto for 10$00). On 28 March 1918, the building was ceded to the Ministério de Instrução Pública (Ministry of Public Instruction) and wing occupied by the archbishops was converted into the first Museum D. Diogo de Sousa. By 1920, Dr. Alberto Feio solicited the building to be adapted into a library and archive. The following year, though, the chapel of D. José Bragança was gutted by fire. The project to expand the episcopal palace was drawn-up in 1922 for the new library and archive, even as the west wing was stilled occupied by the regimental garrison.
In 1930, the episcopal palace underwent profound public works to transform and remodel the building for its use as public library of Braga and district archive. The intention to demolish the eight buildings that surrounded the interior patio was advanced and reconstruction of the Baroque wing. By 1934, the public works were concluded the Baroque wing, under the direction of engineer Almeida Freira, and on 1 December the Public Library of Braga was inaugurated. Throughout 1936 various storms caused damage to the building, resulting in reconstruction projects in the following year, under the direction of Jorge Viana and Fernandes de Sá, that only be concluded in 1939. But, in 1941, a major storm caused damage to the building.
In 1943, the process to expropriation of the eight buildings for the construction of an ethnographic museum was interrupted with the death of engineer Duarte Pacheco. António Maria dos Santos da Cunha proposed the removal of the grades that encircled the Largo do Paço this year, but the project would not advance. The facade oriented to Largo D. João Peculiar was being restored in 1944, while the following year a chapel was demolished along the northeast, in order to expand the Rua Eça de Queirós. This became part of the 1946 project to re-landscape the Largo do Paço, that included the suppression of the grade that encircled the parcel.
Between 1947 and 1948, the library was under the control of the Ministério da Educação Nacional (Ministry of National Education). In 1947, there was an intention by the municipality to demolish the municipal market, located in the middle of the Praça do Munícipio, in order to open-up the Baroque wing of the palace and Municipal Hall.
Architect Francisco de Azeredo presented a project to re-landscape the municipal square in 1948, even as the following year the medieval episcopal square was still in construction and the process of selecting new furniture continued to evolve.
On 18 September 1948, a dispatch was issue to define a Special Protection Zone, by the Direção-Geral de Urbanização (Directorate-General for Urbanization).
New projects to re-arrange the Municipal Square initiated in 1950, which were later expanded with the 1955 construction of the Garden of Santa Bárbara. Around 14 July, the landscapers were authorized to remove the grading along the Largo do Paço and opening up the square to Rua do Souto. This task was only begun the following, with the execution of the demolition of the municipal market. In 1964, by municipal decision the five elements of the Fonte do Pelicano, which was encountered dismantled in the episcopal garden were moved to the Praça do Município and reconstructed.
In 1973, the Direcção-Geral de Construções Escolares (Directorate-General of School Construction) proceeded to adapt the central an eastern wings (oriented to the Largo da Praça for there use as installations of the University of Moinho's rectory. The wing destined for the Museu D. Diogo de Sousa and a majority of the dependencies were unoccupied, with only the first floor occupied by artisanal shop of the municipal tourist centre, the district courts and the second floor occupied by the Alliance Française and Instituto Minhoto de Estudos Regionais. But, by 1975, the library was integrated into the directorship of the University of Moinho and two years later the Museum D. Diogo de Sousa abandoned their spaces.
Architecture
The former court was constructed on an unleveled terrain in the historic centre of Braga. The building is addorsed to buildings along its eastern and western edge, with the cathedral of Braga and Church of the Misericórdia, to the southwest, and municipal hall and Fonte de Pelicano, to the west. In the northeast is the Garden of Santa Bárbara, on level ground, a geometric area delimited by shrubs and decorated with cedar topiaries. In the centre is an octagonal fountain, on four steps, with circular column surmounted by an image of Santa Barbara. Delimiting this patio are the ruins of a broken arcade pertaining to the medieval episcopal palace.
The Palace is a set of three different buildings with distinct characteristics and time periods. The irregular building is asymmetrical composition, consisting of three bodies, that are also irregularly designed and constructed in different epochs, that are addorsed and interconnected. The medieval corp is associated with a rectangular garden patio oriented towards the Garden of Santa Bárbara, addorsed to the southern 15th century "U"-shaped wing and rectangular square, known as the Largo do Paço. At the junction of these in the west, is designated the Baroque Wing, oriented to the Largo do Município. This body is the most formal, with a three-register symmetrical structure with recessed central body and lateral wings. All unique buildings are of varying heights and covered in different roofing materials.
Southern wing
The South wing, defining the Paço Square, is composed of various buildings from the 16th, 17th and 18th centuries. Access to the complex occurs across the 15th century body, consisting of a two- to three-register structure on a slight terrain, constructed of granite, except for the portion oriented to the encircled Largo D. João Peculiar (which is plastered and white-washed). The facades of the buildings are decorated in cornices and marked by several vertical rectangular vains. The facades to the Largo do Paço, with wings covered in grated-windows and surmounted by rectangular cornices on the first register and more simple rectangular windows on the second floor, with guardrails. The central wing with principal entranceway is flanked by pilasters, crowned by ornate pinnacle and surmounted by the coat-of-arms of Archbishop D. Rodrigo Moura Teles.
The eastern wing includes two panels of walls separated by colossal Roman-like pilasters. On the left is a doorway flanked by pilasters and decorated by a coat-of-arms in the timpany, between lateral windows, also flanked by pilasters. To the right, there are two porticos flanked identical windows one framed by pilasters, crowned by inscription and coat-of-arms, and the other framed and decorated. This wing is to the south (towards Rua do Souto) with identical inscription, but with windows between registers and window in the mezzanine.
The western wing, with gallery is supported by colonnade and recumbent windows with coat-of-arms of Archbishop D. Agostinho de Jesus in the centre. This wing to the south, oriented towards the Largo D. João Peculiar at the corner, in the last register, closed balcony, crowned by pinnacles, supported by great balcão fechado, em empena coroada por pináculos, suportado por grandes corbels and windows.
In the Largo do Paço is a central fountain, known as the Fonte dos Castelos, a polygonal structure with twelve steps, poly-lobed tank, and a column with sculptured hexagonal and six fountains. The ornate fountain includes a secondary tank sculpted in the form of interconnected castles linked by wall surrounding a pinnacle carved as a three register tower, surmounted by a statue crowned with armillary sphere topped by patriarchal cross.
Eastern wing
The Eastern wing (facing the Santa Barbara Garden is of Gothic style and dates to the 14th and 15th centuries.
Western wing
The Western wing (facing the Municipio Square) was built in the 18th century in the Portuguese Northern Baroque style.

Episcopal Palace

Castle of Braga (Portuguese: Castelo de Braga) is a historical fortification and defensive line encircling the city of Braga. While, in fact, the only remains of this structure are the various gates and towers along its perimeter, the main keep tower, located in the civil parish of São João do Souto, is the only true remnant of the medieval castle.

The old castle, today demolished, had an approximate rectangular plan, with towers on each vertice. Of the walls of the city, only the gate, tower of Santiago, tower of São Sebastião and Porta Nova remain (the latter being completely remodeled in a Rococo style and completely different stylistically).

Its perimeter barely exceeded 2,000 metres (6,600 ft), and was delimited (today) in the east by the Praça da República, west by the Rua do Castelo (keep and castle), Rua de São Marcos, Rua do Anjo, Largo de Santiago, Rua do Alcaide, Largo de Paulo Orósio, Rua de Jerónimo Pimentel, Campo das Carvalheiras, Avenida de São Miguel o Anjo, Largo da Porta Nova, Rua dos Biscainhos, Praça do Conselheiro Torres e Almeida and Rua dos Capelistas (walls).

The demolition of the grounds began in 1858 in the Largo do Barão de S. Martinho, with the destruction of the Souto Gate, followed by the Eastern and São Bento Gates, still in the 19th century. After the beginning of the 20th century, many other lines of the castle were destroyed between the Arco da Porta Nova and Rua dos Biscainhos, and from Rua dos Biscainhos and Rua do Alcaide (whose houses abutted the wall, between Campo da Vinha and Praça do Município and Rua de São Marcos). Few remnants of the medieval lines remain today. The ancient wall can be seen in some of the backyards of homes along the Rua do Anjo and Rua de São Marcos. Still further, there still exists the Gate of São Tiago, even if partially altered due to the construction in the second half of the 18th century, through the addition of the Capela da Senhora da Torre. Along Rua de São Marcos, in 1985, one property owner constructed over the foundations of one part of the wall, while in March 1990, there was a collapse of one part of the ancient wall, during the demolition of the old Facho garment factory.

History

Writing in the mid-2nd century, the Greek astronomer and geographer Ptolemy wrote that Bracara Augusta had been under Roman rule. Archaeological work completed researchers from the University of Minho discovered a defensive wall, consisting of polygonal plan, reinforced by small semi-circular turrets, dating to the 3rd century. Recent information points to polygonal plan, defined by rectilinear lines that crossed the structure, with an area between 40 and 50 hectares, punctuated by semi-circular towers . During the period of Iberian migration, the Suebi chose Bracara Augusta as the capital of their kingdom due to its strategic importance and settlement. However, the early settlements floundered with successive conquest, under the Visigothic tribes, southern Moorish invaders and the Christian Reconquista of the Kingdom of León.

Medieval

Although reliable information about the evolution of Braga's early defences are lacking, it is known that, from the 11th century, a second wall was under construction, to the south and to the west, complementing the old Roman wall in the north. Furthermore, it is known that in 1145, Archbishop John of Braga promised the Knights Templar an imposing house within the city walls.

The first documented reference to a walled keep occurred on 12 June 1161, in a transfer to the Church of São João do Souto, that included the walled spaces, and which passed metres from the Sé Cathedral. Around 1210, the walled compound was likely expanded, since documented references referred to road and gate of Souto.

It was in 1300, that King Denis ordered the construction of the castle, as noted by Monseigneur José Augusto Ferreira, and a year later the budget was applied to the project. In 15 years, the first documented reference to the new castle appeared, but by 1350, under the reign of King Pedro I the project had not yet been completed: the king ordered the use of residuals for the work on a new wall, abandoning the old Roman line of defenses in the north.

Between 1369 and 1371, during the first battles of the Ferdinand Wars between Castile and forces of King Ferdinand, Henry II of Castile took the city, which was then "a great place, but badly circled, with only one tower". When Henry finally abandoned the castle, he order the city be put to flame. The tomb of Cabido, then referred to Porta do Muro, which was also named the São tiago da Cavidade.

King Ferdinand restored the wall in 1378, adding three towers to the perimeter defenses. By 1380, three master masons continued to work on the site (João Mouro, Pero Senascais, or Senaschais, and João Pedreiro). Yet, by 31 August 1398, the archbishop D. Martinho Pires da Charneca obtained license from King John I to repair the castle and nominate an alcalde. By 20 November, of the same year, the same archbishop solicited Cabido 2000 corner stones from the tower of Quintã de Carapeços for public work on the castle and archiepiscopal. But, by 1400, even those concessions were not enough for the project, necessitating the order by the archbishop to bring all stone that was encountered in the outskirts of the city for the construction. As of 10 February 1402, the jurisdiction and defences were transferred to the archbishops by the Crown. After a feud with the Cantor of the Sé Cathedral, on the free transfer of the stone, from the tower of Carapeços, the king sent stone free-of-charge from the older buildings whose restoration was not likely to be concluded.

On 20 December 1421, the king determined that the Moorish residents that did not respect the contract between the prelate, cabido and population, should be obliged to pay 100 reis fine, which were then applied to the construction of the walls. Yet, even by the Cortes of Lisbon (1446), the Bracarense procurators continued to complain that the population continued to pay for the city walls, whose construction was suspended. They attributed these complaints to the King's uncle, Afonso, 1st Duke of Braganza, who was the project's comptroller, and public works in the comarca of Entre Douro e Minho. Between 1456 and 1459, during the Cortes of Lisbon, there was a new denunciation against the uncompleted project, whose budget had already been squandered. As the walls began to deteriorate, the blame fell to Aires Ferreira, a squire in the House of the Duke of Braganza.

These continued problems forced King Afonso V on 12 March 1472, to restore the authority over the city and jurisdiction to archbishop Luís Pires. Inevitably, the Church began the reconstruction of the defenses; by 1477, the wall tower, alongside the Gate of São Tiago, was already underway, requiring the collection of taxes on the sale of properties in the city. Between 1505 and 1532, archbishop Diogo de Sousa ordered the construction of the Porta Nova. Already around 1594, the map of Braga included the distinctive image of the castle and wall at its maximum extent.

Sometime in the 17th century, Archbishop José de Bragança, reconstructed the Porta Nova gate, which was extended with Rococo arch/decoration in 1773, becoming known as the Arco da Porta Nova.

After the 1755 Lisbon earthquake, the Jesuits altered the tower alongside the Gate of São Tiago, constructing the Chapel of the Our Lady of the Tower (Portuguese: Capela da Senhora da Torre).

The demolish of the walls began around 1858, starting around the Largo do Barão de São Martinho with the destruction of the Souto Gate, and progressing, around 1867, to the Gate of São Marcos (or São João).

Republic

The destruction of the castle and walls continued to 1905, when the jailhouse (installed in the castle) was demolished, while the keep tower was spared.

On 23 June 1910, a decree classified the keep and some sections of the medieval wall as a National Monument. The Direcção Geral dos Edifícios e Monumentos Nacionais (DGMEN) began the first efforts to recuperate the Castle's remains in 1942-1943, with remodelling of the keep tower, roofing the space and coverage, assessment of pavements, replacement of doors and frames, the clearing of space around the courtyard, including the demolition of existing local structures, and replacing cornerstones that were damaged.

In 1956, the roof was repaired, including the substitution of broken tiles, repairs to the battlements, frames and substitution of broken windows, while another group of public works were made to transition the structure for reuse, such as the installation of an electrical system, arrangement and painting of the door, construction of a new staircase, and the re-landscaping of the terrain around it, including leveling the terrain, paving with gravel and planting flowerbeds. The tower, thus, became the headquarters for theDelegação da Sociedade Histórica da Independência de Portugal (Delegation of the Historical Society of Portuguese Independence) in 1957. A year later, on the celebration of the commemorations associated with the establishment of the Portuguese monarchy (Portuguese: Comemorações Henriquinas), the Portuguese Mocidade erected a commemorative plaque alongside the tower.

New landscaping around the keep tower occurred in 1971, which resulted in the placement of pavement stone, and installation of exterior illumination.

The association ASPA settled in the keep tower in 1982, sharing the space with the Historical Society.

On 29 September 1996, the keep's machicolations were destroyed. As a result, there was an expanded attempt to recuperate, clean and repair existing damage to the site, which included: the repair of the roofing, including reinforcement of existing structures; the placement of an undulating asphalt sub-tile and then re-tiling the coverage; repair to the trapdoor access to the battlement with a metal structure; repairs to the interior and exterior parapets; treatment of cracks and joints; weather-proofing of the battlements; repairs to all staircases, pavements, landings, handrails and tiling floors; the repair of the main gate, execution of a second gate in glass, replacement of windows and frames; and the substitution of the electrical system.

Architecture

From the 13th century, the city walls had an approximately circular plan. A combination of archaeological evidence and documents allows for the walls' general lines to be reconstructed, but the exact location of the gates (of which there were at least four) and the towers are unknown. Beginning at the Arco da Porta Nova (an 18th-century construction that replaced one of the older gates), the wall followed north-northeast along the Rua dos Biscainhos (its northernmost extent being the Campo da Vinha) and looped around southeast along the Rua dos Capelistas, touching the castle wall. After which, the walls continued southwest and then south, northwest and again north, passing through the Campo e Torre de São Tiago, the Largo das Carvalheiras, and the Largo de São Miguel-o-Anjo, before returning to the Arco da Porta Nova.

Keep

The principal remnants of the Castle, the keep tower, is located in the centre of the historic city of Braga, encircled by various buildings which were constructed in the spaces of the demolished castle. It is situated on the fringes of the building of the Escola Comercial e Industrial Bartolomeu dos Mártires and in proximity to the Church of the Third Order of Saint Francis (Portuguese: Igreja dos Terceiros).

Of the old castle only the keep tower (Portuguese: Torre de Menagem) remains, consisting of a rectangular footprint and vertical block covered in tile. The facades are built in granite masonry that is slightly staggered closer to the ground. The design is trimmed with chamfered merlons, battlements with gargoyles and machicolations to the corners. It is four stories, or approximately 30 metres (98 ft) in height, with the first floor considerably taller than the remaining: it is about 12 metres (39 ft)tall. This section is marked by grooves where other buildings abutted the structure, some stones with identifiable inscriptions.

On the first floor, to the northeast, is an arched door that gives access to the interior. A staircase, consisting of two flights, provides egress to the intermediary landing. The door is surmounted by a coat-of-arms of the king Denis, which is also repeated in the western facade of the tower. There are cracks on the second and third floors towards the southeast facade. The roof includes arched windows along each of the facades, with the southeast and northweast twinned.

The interior of the tower is divided into individual spaces on each floor, linked by wooden staircase, with parquet floors and wooden ceilings.

Castle of Braga

The Palace of Raio (Portuguese: Palácio do Raio) is a Baroque era residence in the urbanized area of the municipality of Braga, in the civil parish of São José de São Lázaro. It is an example of the late Baroque, early Rococo style of decoration by Portuguese architect André Soares, notable for his influence in the northern Baroque movement.
History
The construction of this ornate palace was ordered by João Duarte de Faria, a knight of the Order of Christ, who was a rich merchant.
The commission was given to André Soares in 1754–1755, an architect already famous in the Braga region for his artistic and engineering projects. Soares reformulate the style first introduced to Porto by Nasoni, basing his interpretations on French-German sketches, "one of the expressions more distinct and powerful of the European Rococo". His work is characterized by the monumental nature of its forms, and for his use of natural elements in the decorative sculptures that permeate the design including the shells, jars, wreaths and garlands. These elements show the influence of the Augsburg sketches, or the Frenchman Meissonier, among others. In the context of Portuguese art, André Soares was part of the end of the Baroque period, and beginning of the Rococo; his style used the structure of the Baroque, but the decorative style of the Rococo. André Soares had worked on the Sanctuary of Bom Jesus and the Church of Santa Maria Madalena da Falperra, and the Raio Palace is seen as an extension of the "feative character of Falperra".
In 1760, the staircase was painted.
A century later, the residence was acquired by Miguel José Raio, then Viscount of São Lázaro (in 1867), thus, over time, becoming known as the Palace of Raio.
The Escola Profissional de Recuperação do Património de Sintra (Professional School for Recuperation of Sintra Patrimony) intervened in 1993 to repair the doors and windows on this first floor. The group was responsible for repairing the wood frames, cleaning of the stone from damage caused by humidity, completing moulds, installation of artificial stoneworks, reinforcing the structure with cement and reintegration of many of the sculptures. Matos Sequeira, an archeologist, once referred to the facade as similar to a piece of furniture from the court of Louis XV.
Architecture
The building is located in the urban context of Braga, situated alongside the Hospital of São Marcos and the pavilion sheltering the Fountain of the Idol.
It is a singular block, in the Baroque-style, constructed during the reign of King John V. The palace is a two-storey buildings, consisting of several three-doors on the main floor, flanked by ornate framed windows, and the second-floor consisting of several windows and balconies. The roof is topped by a veranda of balusters, with ornate vegetal pinnacles.
Over the main portal, deeply indented, is a sumptuous balcony of balusters, flanked by two decorative sculptures. The lintel over this second-floor balcony is monolithic. Its cornice, which is exceptionally recessed, and crowned by a balustrade consisting of six flaming sculptures, while four blazing amphorae on its flanks over an Ionic pilasters frame.
The main floor is embellished by frames of carved granite, and the outline of the wrought iron balconies. Apart from the main entrance, are two lateral doorways (all of which are painted in complementary blue). While the facade is covered in azulejo tile (and installed in the 19th century), the whole building is built from fine-grained granite. On the landing, the azulejos were likely executed by Bartolomeu Antunes, owing to the different interpretations of the Rococo: one more traditional, from a workshop in Lisbon; and another, which predominates a northern agitation, from Braga.
This residence is considered one of the most important public works of André Soares, presenting a facade that is profusely decorated, where the general symmetry contrasts with the asymmetries introduced by the windows. This is particularly true of the central section, which is similar to the models utilized in the Church of Falperra and Municipal Council building of Braga: all which have similar traits. The window over the main doorway connects a curved pediment, which reminds the viewer of the Church of Santa Maria Madalena, although highly projected from the rest of the facade. As Vitor Serrão mentions in his critique, it is across "the sensual and powerful sense of deconstruction that the openings almost announce the art of one Gaudi", and the building "imposes a newness and display, within a sensual Rococo rhythm to the noble staircase like an inviting exotic figure."
In the interior, is the noble staircase, with three arches and sculpture of a Turk, comparable to the four statues in the esplanade of the Church of Bom Jesus, who Smith attributes to André Soares (even if they were executed by masons José and António de Sousa.

Raio Palace

The Castle of Dona Chica (Portuguese: Castelo da Dona Chica) is a neo-romantic castle and/or residence located in the civil parish of Palmeira, municipality of Braga, in the northern region of Portugal. Originally designed by Ernesto Korrodi, the project suffered from a lack of funds early, eventually changing hands and falling into the possession of creditors.
History
The project was conceived and executed in 1915, by Swiss architect (and later naturalized Portuguese) Ernesto Korrodi, under contract with João José Ferreira Rego, then married to a Brazilian lady named Francisca Peixoto Rego. The castle's name came from the patroness, whose diminutive form (Chica) was the origin of its popular name; Francisca Peixoto Rego was active in the import of many of the arboreal plant species from Brazil, used to landscape the property. Korrodi's project was based on his idealized concept of the Habitação Nobre de Província (Provincial Nobles' House), a typology that the architect was dedicated to at the beginning of the 20th century, and which "...evoked, across diverse inspirational sources, one of the art of the Middle Ages and one from a determined social lifestyle, of the triumphal burgers of the 19th century, while grounded in tradition and progress..."
The construction was suspended in 1919, at a time when the interior of the home, was still in a state of basic comforts. Incomplete, its budget rounded 370 contos.
In 1938, it was sold for 165 contos to an English nobleman, who later sold the building to the librarian of the Count of Vizela, Alberto Torres de Figueiredo. Francisco Joaquim Alves de Macedo acquired the palace and restarted the work on the building, without recuperating the already damaged exterior and interior. This project was fruitless and in vain, as multiple divergences developed during the construction and conflicts with the local government authority ensued. In the course of the debacle many of the decorative elements of the interior, principally the ceramics (such as the azulejos, floor-tiles and roofing) were damaged. There remained no vestiges of these elements to assist future work and many of the tiles of artistic value were destroyed, as was the interior woods.
In the second half of the 20th century, the building was acquired directly by the Junta de Freguesia de Palmeira (the civil parish council) which concesstioned the property to IPALTUR Investimentos Turísticos, S.A., under a renewable long-term contract.
In 1992, there was a formal proposal to transform the residence into a cultural and recreative space, with restaurant and other social services, under the direction of architect Paulo Tonet. In November, Joaquim Costa, manager of IPALTUR, transferred title of the palace to the company Veloso - Empreendimentos Turísticos e Residenciais, with the intention of paying alleged debits, which was not acceptable to the remaining creditors.
On 20 February 1985, the property was classified as a Imóvel de Interesse Público (Property of Public Interest).
In 1993, the Caixa Geral de Depósitos, as principal creditor of IPALTUR, petitioned the liquidation of IPALTUR, resulting in an uncertain future for the property, as it mortgaged at the time. Ultimately, it was bought the CGD in 1998, and placed up for sale by 2006. Before being placed up for sale, the local Junta de Freguesia for Palmeira tried to come to an accord with the CGD, offering 165,000 contos for the property, to which the bank refused.
Architecture
The castle is located in a rural property, four kilometres (2.5 mi) from the centre of Braga, on an ample property encircled by wall and dense vegetation.
The four-storey structure and its spaces are a mixture of popular styles and materials, using a diverse palette of styles. Isolated, the spaces have specific aesthetics, connected using bridging elements (materials and decorative themes). From the analysis of the constructive details, one can descern the importance that image had in its construction. The windows are wood or iron, or still, executed with both materials, making it difficult to determine whether their treatment was part of the building's construction or if they were part of the architectural design of the architect Korrodi. In contrast, the roof tiles are signed by the designer, while their colour (green) integrates into the landscape, something the rest of the building refuse to do.
The surrounding forest, includes several exotic species (such as the medicinal plant Pau Santo, Brazilian almond and pine trees), in addition to various national species (like palm, eyucalyptus, maple, wild pine, chestnut, Portuguese cedar, camellia, Mimosa), with pedestrian trails. Also, the site includes a small lake with grotto, that includes fake stalagtities following the Romantic-style, attempting to mimic the medieval era. The space follows the nationalistic language, copying the natural world, in preference to a wood, rather than a geometric Baroque garden.
Although the structure shows a few solutions that differ from the Korrodi original design, this "evolution" marked "...a persistence of taste, that permitted the materialization of the Korrodi's Habitação Nobre ideal, which were referenced in the Neo-Gothic elements. In fact, the residence has influences from not only the Founders' Chapel in Batalha, but also mixed elements from Art Nouveau, Renaissance and Romanesque.

Castle of Dona Chica

As ruínas da Torre de Vasconcellos, popularmente referida como Casa dos Mouros, e sua honra localizam-se na freguesia de Ferreiros, concelho de Amares, distrito de Braga, em Portugal.

Edificada num esporão de terreno sobranceiro à ribeira de Bárrio, perto do lugar de Vasconcelos, as ruínas atualmente existentes, constituem os vestígios de um dos raros paços de origem românica no país.

Aqui viveu o poeta português do século XVI Sá de Miranda.

No princípio do século XIX surge como seu proprietário Luís Machado de Mendonça Eça Castro e Vasconcelos, moço-fidalgo da Casa Real, com descendência nos condes da Figueira.

Encontra-se classificada como Imóvel de Interesse Público pelo Decreto 37077 de 29 de setembro de 1948.

História

Acredita-se que tenha sido edificada em meados do século XIII, por Pero Anes de Vasconcelos e Rodrigo Anes de Vasconcelos, este último nascido em 1230, casado com D. Mécia Rodrigues de Penela, e que foram os fundadores da Honra de Vasconcelos. Eram filhos de D. João Peres de Vasconcelos, "O Tenreiro", nascido em 1200, e de sua esposa, D. Maria Soares Coelho, nascida em 1210. Este, por sua vez era filho de D. Pedro Martins da Torre, nascido em 1160, e senhor da Torre de Vasconcelos e de D. Teresa Soares da Silva, nascida em 1160 e que foi a sua segunda esposa.

Características

Trata-se de uma estrutura do género "domus fortis", com a função de paço senhorial. A primitiva construção era constituída por uma torre - que servia de refúgio em caso de ataque - e, de um anexo residencial de planta retangular.

A torre apresentava planta quadrangular e, do que em parte se mantém, conserva o seu portal. Uma porta grande, rasgada no mesmo tipo de arcatura, que servia para fazer a ligação com o corpo do edifício anexo. Nas ruínas desta construção ainda existe uma grande porta em arco ogival.

Torre de Vasconcelos

The Castle of Lanhoso (Portuguese: Castelo de Lanhoso) is a medieval castle located in civil parish of Póvoa de Lanhoso (Nossa Senhora do Amparo), municipality of Póvoa de Lanhoso, Portuguese district of Braga of Portugal.

History

The site on top of the mount had been occupied since the Chalcolithic period.

Between the 10th and 11th century, the castle existed as a series of walls and corners.

It was between 1071 and 1091 that Bishop D. Pedro, whose episcopate lasted between 1070 and 1091, supported the reconstruction of the castle's ashlar walls, over the pre-Romanic fortress, that originally defended the episcopal seat of Braga. An epigraphic plate in ashlar was located on the site, that reads: PETRIS AEPISCOPUS.

In 1121, D. Teresa of León sought refuge in the rebuilt castle, to which she was besieged by forces loyal to her half-sister D. Urraca, Queen of León. Urraca took Theresa captive. However, an intervention by Bishop Gelmires forced the two to an agreement, the Treaty of Lanhoso, that preserved the land holdings of both sides. Then, in 1128, she was imprisoned in the same castle, under the orders of her son, D. Afonso Henriques, after the Battle of São Mamede.

By the end of the 12th century or beginning of the 13th century, there was a Romanesque change in the construction of the keep tower, when the fortress was the centre of the region.

The castle was the site of a crime of passion, when the alcalde, D. Rui Gonçalves Pereira, the great-great-grandfather of D. Nuno Álvares Pereira, discovered the infidelity of his wife while away. Upon learning of the marital infidelity of his wife, Inês Sanches, who was enamored with a friar from the monastery of Bouro, ordered the castle gates closed and fire set to the citadel. The fire killed Inês and her lover, as well as the servants, who were considered accomplices in the infidelity, for not having denounced the fact. By his order, no one escaped the fire alive (including domestic animals) when the structure burned down.

By 1264, the alcalde was D. Godinho Fafez, great-grandson of Fafez Luz, Master of Lanhoso, who nominated as his successor Mem Cravo.

On 25 September 1292, King D. Dinis conceded a foral (charter) to the town of Póvoa do Lanhoso, which was later confirmed by King D. Manuel I on 4 January 1514.

Following the consolidation of the kingdom's frontiers, the castle gradually lost its strategic importance and fell into abandon and ruined. This continued into the 17th century, when André da Silva Machado, a wealthy merchant from Porto decided to build a replica of the Sanctuary of Bom Jesus de Braga. In 1680, he obtained authorization to dismantle the old fortress to re-use the stones to build a sanctuary to the invocation of Our Lady of the Pillar. Working on demolishing the barbican and part of the walls, building within the enclosure the church, staircase and the pilgrim chapels, that became known as the Shrine of Our Lady of Pilar. By 1724, work on the sanctuary was still occurring.

In a description by Craesbeeck in 1726, he substantiated that the walls were in a state of ruin. But, in the 1758 Memórias Paroquiais, there is an indication that the old castle was only survived by the tower keep.

Between 1938 and 1939 there were excavations around the castle. At the same time work on reconstructing the structure was begun, that included reconstitution of two corbels; consolidation and reconstruction of the walls and gate; and restoration of the keep tower. Following similar excavations, there were repairs and consolidation to the remnants of the old foundations unearthed, including the partial reconstitution of the lines around the keep tower and exterior. Work on cleaning and landscaping around the mountain progressed, with the reconstruction of an access to the castle completed. Excavations around the remnants of the castro situated along the northeastern flank of the hilltop and work on the Church of the Nossa Senhora do Pilar sanctuary were also completed.

Repairs were also undertaken in 1959, 1973, 1975 and 196; these include conservation; reconstruction of the access staircase to the tower; roofing the keep tower; and reconstruction of the gate. While in 1996, cleaning and consolidation of the exterior structures were carried out by employees of the municipal council and members of the Associação Adere-Lanhoso group, as well as the remodelling of the second-floor interiors.

Although partially ruined, the Castle of Lanhoso is a popular attraction, receiving 100,000 visitors between 1996 and 2006. In addition to the castle (which offers a small exhibition), the shrine and castro are also important points of interest.

Architecture

The castle is situated in a rural landscape, isolated and implanted mount 385 metres (1,263 ft) along a massif range called as Laje Grande, that divides the watersheds of the Cávado and Ave river systems. The highest point of the mountain consists of the a large rocky hilltop, where the medieval castle overlooks the town of Póvoa de Lanhoso. The location is situated over a small fertile valley that is well irrigated, crossed by the Ribeira da Póvoa, Ribeira Pereira and Ribeira de Pregal, that are tributaries of the Ave watershed. Half way on the flank, on the road accessway are vestiges of a Romanized settlement of pre- to proto-historic nature. At the top of the mount, within the walls of the castle is the Sanctuary of Nossa Senhora do Pilar, with a winding "Via Sacra" that extends from the foot of the hill, punctuated by five chapels and a support building for pilgrims with restaurant.

The castle is situated on the extreme west of the mount, encircled by a wall, with two visible corbels, along the extreme opposite side and north, forming an elliptical barbican. The fortification is an irregular plan with a rectangular keep tower in the east. The walls, surmounted by merlons, is broken in the south alongside the keep tower, with arched gate, flanked by two towers and with a staircase carved into the rock.

The keep tower, surmounted by merlons, is 10 metres (33 ft) high and is accessible by an arched doorway 3 metres (9.8 ft) above the ground. The line of walls circle the terrain within which is the alcalde's citadel and a large cistern. The vestiges of the old citadel include its foundations and towers at the angles and part of an accessway, that allude to the pre-Roman relief. Internally, the rectangular space includes two lines of pillars.

Castle of Lanhoso

The Tower of Penegate (Portuguese: Torre de Penegate), is a 3-storey quadrilateral tower, located in the civil parish of São Miguel de Carreiras in municipality of Vila Verde, in the northern region of Portugal.

History

The first reference to the toponymy of Penegate came in 1064, substituting the former name of Penela. Regardless, the area continued to pertain to a dominant hilltop, where, later, the Gothic tower known as Penegate was founded. There are still some concerns about whether this structure had a Roman, or proto-Roman, foundation, normally attributed to D. Egas Pais de Penegate, a trusted man of Count Henry of Burgundy, as defended by some authors.

The tower was begun in 1322, by Mem Rodrigues de Vasconcelos, alcalde-mor of the Castle of Guimarães, after receiving a royal licence (for a domus fortis) from King Denis on 5 October 1322. Mem Rodrigues requested the dispatch, owing to problems found in occupying his title in the region of Entre-Homem-e-Cávado, the zone where royal judiciary had difficulties in imposing is authority owing to his uncle, Pedro Anes de Vasconcelos.

By 1668, Miguel Valadares, who was then the proprietor of the tower, died. The Chapel of Nossa Senhora da Penha was constructed in the 17th century, under his initiative (from the inscription along the principal facade). This nobleman, deacon of Guimarães and judge in Braga, was the descendant and heir of the building, and incorporated the chapel as a burial site.

In 1907, the tower was acquired by the father of the current property-owner.

In 1939, a house was constructed along the lateral wall of the tower.

The tower's age meant that local authorities were interested in classifying the tower, as a form of attracting local activity to the region. On 20 August 1986, municipal authorities deliberated a motion to propose to the IPPC, that the tower be listed as a National Monument. This was followed on 15 November 1988, with a proposal by the Câmara Municipal of Vila Verde to classify the structure. The process was opened by the president of the IPPC on 20 June 1990. But, many of these initiatives met with success, and Penegate remained unclassified by the beginning of the 20th century.

On 27 December 2011, the DRCNorte (Direcção Regional de Cultura do Norte) re-proposed classifying the structure as an MIP, or Monumento de Interesse Público (Monument of Public Interest). The proposal was met with a favorable response from the National Council for Culture SPAA on 23 January 2012. On 28 September 2012, an announcement (13494/2012), was published in the Diário da República (Série II, 189), relative to the decision on classifying the monument as MIP, and established a special zone of protection for the keep.

Architecture

The tower is located in a rural context, alongside a house that was recently constructed, in addition to the Chapel of Penha. It is a Baroque temple, of small dimension, conserving a modern triptych altarpiece, with the image of the Virgin Mary in the centre, flanked by Saint John and Saint Anthony, in painted panels.

The tower is located over a clifftop, over a hilltop escarpment that dominates the valley of Febros. Access to the site is made along a very steep pedestrian trail. Along the valley, there once existed a medieval road, based on a former Roman via, which connected Braga and Valença.

A rectangular tower, consisting of a three-story facade, with rooftop terrace. The entrance-way, consisting of a Roman arch, is situated in the level ground, although it is likely that access was made by a movable staircase. The first floors has several high and long cracks. In the western facade is a balcony with machicolations and, along the other facades are tall rectangular windows. Along the eastern wall is a window with rounded frame.

Within the interior of the tower are several inscriptions, likely Gothic in nature, but of complex lettering.

Tower of Penegate

A Muralha medieval de Barcelos, da qual nos restou pequenas porções de muralha estando estas inseridas entre casas no centro histórico da cidade e a chamada Torre de Cimo de Vila (localmente mais conhecido como Torre da Porta Nova) localiza-se mo extremo nordeste da cidade medieval da cidade de Barcelos.

A importância deste torre é de grande, pois esta era um ponto de passagem obrigatório para quem fazia o trajeto norte-sul, a construção de uma ponte de pedra na primeira metade do século XIV aumentou a prosperidade da vila de Barcelos, que não conheceu um castelo propriamente dito.

História
Antecedentes
Embora a primitiva ocupação humana do local, sobranceiro ao rio Cávado, seja desconhecida, ela é geralmente atribuída ao contexto da Invasão romana da Península Ibérica, não tendo ficado alheia às invasões posteriores, de Visigodos e de Muçulmanos.

A cerca medieval
À época da Reconquista cristã da península, a povoação foi conquistada pelos primeiros reis de Leão.

Encontra-se mencionada ao tempo do rei D. Afonso Henriques (1112-1185) como "minha vila", em diploma sem data, atribuível a um período entre 1156 e 1169, pelo qual o soberano concedeu aos seus moradores, presentes ou futuros, foral análogo ao de Braga. Posteriormente, nas Inquirições de 1220 e de 1226, é designada como "Santa Maria de Barcelos", pertencendo ao julgado de Neiva.

A povoação cresceu a ponto de, em 1298, D. Dinis (1279-1325) nela instituir a sede de um condado, primeiro condado em Portugal, sendo que desde o 1º conde de Barcelos, D. João Afonso de Meneses, se manteve nesta família até ao tempo do 6º conde, também D. João Afonso, o qual, durante a crise de 1383-1385, seguiu o partido da Infanta D. Beatriz e de seu marido, João I de Castela, contra o partido do Mestre de Avis, vindo a falecer na batalha de Aljubarrota. O novo soberano, agraciou com esse título o Condestável D. Nuno Álvares Pereira, que, mais tarde, o transferiu para o genro, D. Afonso, filho bastardo de D. João I, 8º conde de Barcelos, e posteriormente o 1º duque de Bragança. Este, mudando-se de Chaves para Barcelos, iniciou, por volta de 1412, a edificação do Palácio dos Duques com a modificação da cerca da povoação (em progresso anteriormente a 1406) e a Igreja Matriz.

Esta cerca seria, em linhas gerais, a mesma figurada por Duarte de Armas (Livro das Fortalezas, c. 1509). 

Do terramoto de 1755 aos nossos dias

O terramoto de 1755 que causou estragos na vila e nas defesas, causou a destruição do Palácio dos Duques de Bragança (hoje, um museu a céu aberto). Posteriormente, à semelhança do que se registrou em outros centros urbanos, a expansão da malha urbana resultou na demolição da antiga cerca medieval, tendo chegado aos nossos dias apenas uma torre, a norte (também conhecida como Torre de Barcelos ou Postigo da Muralha), um troço da muralha a leste e a sul e vestígios de dois postigos. O conjunto, bem preservado, está classificado como Monumento Nacional por Decreto publicado desde 19 de Fevereiro de 1926.

Características

A cerca da vila era constituída por uma muralha de planta ovalada, ligeiramente reintrante na face norte. Iniciada e terminada na ponte, quatro torres de planta quadrangular protegiam quatro portas, determinando o acesso das principais vias da vila às principais estradas do território.

O eixo viário mais importante era o do sul, acedendo a ponte defendido pela chamada Torre da Porta da Ponte, de planta quadrangular e que, primitivamente, se dividia em quatro pavimentos. Foi neste setor que se fez erguer o palácio (paço condal) que, em torno de 1480, o conde D. Fernando fez ligar à ponte por meio de uma torre de dois pavimentos. 

Muralha de Barcelos

A Torre do Cimo da Vila, também referida como Torre de Barcelos, Postigo da Muralha, Torre da Porta, Torre da Porta Nova ou Torre da Cadeia, localiza-se na freguesia de Barcelos, cidade e concelho de mesmo nome, distrito de Braga, em Portugal.

História

Constitui-se na antiga torre de menagem da povoação, sendo a única remanescente das três torres da primitiva muralha, cujas portas davam acesso ao interior da povoação. Esta torre foi edificada no século XV por determinação do 8º conde de Barcelos, e serviu inicialmente de residência ao alcaide.

Encontra-se classificada como Monumento Nacional pelo Decreto nº 11.454, publicado em 19 de Fevereiro de 1926.

Foi ocupada desde o final do século XVII até 1932, por uma cadeia, que substituiu a antiga prisão do Tronco. Posteriormente, serviu como armazém do Museu Arqueológico do Alcaide de Faria que tem como acervo objectos encontrados na Citânia da Franqueira ou Castro de Faria e nas ruínas do Castelo de Faria.

Atualmente a torre alberga o Centro de Artesanato de Barcelos.

Características

A torre apresenta planta quadrangular, com paredes formadas por enormes pedras de granito, que, no lado Norte, chegam a ter dois metros de espessura.