Lamego's regional museum sits within the walls of the 18th century episcopal palace (bishop's palace) and contains some of the finest examples of religious art to be found anywhere in Portugal. Much of the collection was built up over the centuries by the Bishops of Lamego but since the episcopal palace became the museum there have been many new additions.
Among the highlights on exhibit are a number of religious paintings by Vasco Fernandes, or Grão Vasco as he was commonly known. The 16th century paintings were commissioned to form part of the altarpiece in the cathedral. Originally there were 20 panels, but today only 5 survive.
The other main attraction at Lamego's museum is the collection of Flemish tapestries which also date back to the Renaissance period. These stunning tapestries feature scenes from Greek mythology and religious themes such as 'Judgement in Paradise'.
Also of interest are the wonderfully ornate Baroque gilded wood chapel interiors that were rescued from the Chagas Convent. These wooden panels have been re-assembled to create the complete chapels within the museum.
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The Castle of Lamego (Portuguese: Castelo de Lamego) is a medieval castle located in the civil parish of Lamego (Almacave e Sé), in the municipality of Lamego, Portuguese district of Viseu.

History

Early human settlement in the territory dates to the Bronze Age, although it may have been inhabited the Lacão peoples beginning in the 5th century B.C. With the Roman occupation of the Iberian Peninsula, the Emperor Trajan ordered the reconstruction of the village, then called Lameca, from simple villa to civitas. Between the 5th and 8th century, it was settled by the Visigoths, and became the seat of a bishopric (marked by the Basilica of São Pedro de Balsemão). In the 8th century, Moors occupied the territory.

Following the Christian Reconquista of the peninsula, the village was conquered by Ordoño II of Galicia in 910. It was then reconquered in 997, by the forces of Almansor and caliphate of Cordoba, and would remain their possession until the 11th century. On 29 November 1057, the city was conquered from the Moors by Ferdinand I of León. Sometime in the 12 century, the tower keep and dungeons were constructed, followed in the 13th century by the fortification walls. The territory and its castle were given away in the dowry during the marriage of Henry of Burgundy and Teresa of Leon, and integrated into the lands of Portucalense (the County of Portugal). With its independence, they were donated to the Mendes (the Masters of Bragança) who initiated a series of construction projects in the 12th century, such as the keep tower, dungeons, the walls and cistern erected by Moors in the 11th century.

During the reign of King D. Sancho II (1223–1248), Abril Peres de Lumiares was alcalde was until 1245. It is believed that after the 1258 Inquirições (Inquiries), during the reign of King D. Afonso III (1248-1279), that the elaborate walls were erected.

Between the 14th and 15th centuries the town expanded, owing to manufacture of textiles and a regally-mandated annual regional fair. During this period the alcaldes of the castle were the Coutinhos, that included Gonçalo Vasques Coutinho, then also alcalde of the Castle of Trancoso, who during the 1383-1385 crisis, supported the Portuguese pretender, the Master of Aviz. At the end of this period, D. Francisco Coutinho, 4th Count of Marialva ordered the construction a window in the middle of the keep tower.

Following a brief economic recession in the 16th century, the wine industry brought a new prosperity to the region, resulting the expansion of estates in Lamego. The niche, dedicated to Nossa Senhora da Graça, was likely constructed in 1642, by order of António de Castro.  A contract to execute the grates of the prison, annexed to the tower, was executed by the locksmith António Luís for 250$000 Portuguese reis on 25 August 1696.

In 1730, from descriptions, the Porta da Vila (Villa Gate) included an arch and two towers, where a bell served as clock.  At that time, the former-Casa da Câmara (municipal residence) was located onsite within an old bastion and awning with stone, sculpted columns and tower, as well as a second bastion, designated Castelinho.  A similar reference appeared in 1758 to the oratory of Nossa Senhora da Graça, within the internal section of the arch of the Porta do Sol (Sun Gate).

A bell was executed for the belfry in 1789, by Mateus Gomes for the municipal council.  A new bell was later executed in 1875 with Naciso António from Braga.

On 6 March 1789, the plasterers Bernardo Cardoso and Francisco de Moura was contracted to work on the castle tower.

In 1824, there was an authorization to build houses on the fortifications, but, ten years later, a businessman requested permission to demolish one of the towers, that was located in his residence.

A new bell was executed in 1914, by Adriano Loureiro, by order of the municipality.

In 1920, the clock located in the Villa Gate was auctioned in the keep tower, and substituted.

Between 1940 and 1941 the remaining bells were removed from the castle and installed in the Church of Santa Maria de Almacave.

A risk assessment for the property was elaborated in October 2005 by the DGEMN.

Architecture

The castle was installed on a hilltop 543 metres (1,781 ft) above sea level, on rocky, granite and schist outcroppings. It includes two lines of walls (interior or exterior) that fall within the urban context of the castle, with views of the Coura, Balsemão and Varosa Rivers.

An irregular plan, the castle includes a rectangular keep tower oriented to the west, with doorway access to the upper floors 3 metres (9.8 ft) above ground. The structure is marked by various small crevices on various elevations, along with a door at the ground floor. Crenellated, the three floors are constructed of wood, and interconnected by wood staircases. Compounding the citadel, is an inner face that follows the walled perimeter, hexagonal and irregular, with battlement and broken arch gateway, substantially oriented to the east.

The second line of walls, are longer and encompasses the citadel, extending to the south to the lower elevations. To the east, between many segments of the walls of the Porta da Vila or Porta dos Figos are other lateral towers, named the Porta de Aguião, Porta do Norte and Porta dos Fogos. There is also a recessed arched doorway, over which was constructed a wood oratory. To the left, is a staircase that access the balcony where the bell was situated and, at the top, the tower of the old municipal hall. To the extreme south, is the Porta do Sol, along a wall of heft proportions, composed of broken arch with epigraphic niche, and with access to two important accesses in the wall portion of the urban area.

Along the Rua da Cisterna is a cistern of sculpted stone with inscription and a vaulted ceiling with four arches supporting lateral pillars. There is a small opening for illumination and an access door with interior staircase.

Nearby is the Praça de Armas (Place-of-arms), an area of 90 metres (300 ft), forming an irregular, hexagonal polygon.

Castle of Lamego

A Torre de Ucanha localiza-se na freguesia de Ucanha, concelho de Tarouca, distrito de Viseu, em Portugal. Está classificada pelo IPPAR como Monumento Nacional desde 1910.

O erudito José Leite de Vasconcelos, nascido em Ucanha, aponta essencialmente três razões para a construção da ponte e da torre de Ucanha, lançadas sobre o rio Varosa, perto de Tarouca e a poucos quilómetros de Lamego: a de defesa, à entrada do couto monástico de Salzedas; a de ostentação senhorial, bem patente na alta torre; e a da cobrança fiscal, pelo valor económico que tal representaria para o mosteiro cisterciense erguido próximo.

História

A sua existência já vem documentada no século XII. D. Afonso Henriques doou, em 1163, à viúva de Egas Moniz, Teresa Afonso, o couto de Algeriz, acrescentando-lhe o território de Ucanha. A ponte deve ter sido construída pelos romanos, no seguimento de uma estrada que passava ali perto. Teresa Afonso, fundadora do Mosteiro de Santa Maria de Salzedas, doou ao convento o couto que recebera do rei e foram os monges quem mais beneficiou da velha ponte, convertida em apreciável fonte de rendimento pelos direitos de portagem que seriam cobrados.

Em 1324, D. Dinis pretendeu favorecer as gentes e vila de Castro Rei, concedendo-lhes o privilégio da passagem de Moimenta para Lamego, mas face à pressão dos frades de Salzedas, o rei confirmou tal privilégio a Ucanha.

Características

De planta quadrada, a torre, com porta de acesso bem acima do nível do chão, tem vinte metros de altura e dez de cada lado da base, onde se encontra a seguinte inscrição "Esta obra mandou fazer D. Fernando, abade de Salzedas, em 1465".

No interior, divide-se em três pavimentos: no primeiro apenas uma fresta, no segundo em duas das faces abrem-se duas janelas geminadas e no último salientam-se quatro mata-cães, apoiados em cachorros.

Torre de Ucanha

A Torre de Quintela localiza-se na aldeia de Quintela, Freguesia de Vila Marim, Concelho e Distrito de Vila Real, em Portugal.

Foi erguida em posição dominante sobre um maciço rochoso no sopé da serra do Alvão.

História

Tudo indica que esta torre medieval, tenha sido edificada no reinado de D. Afonso III (1248-1279), por ordem de D. Alda Vasques, que a utilizou como residência senhorial.

Posteriormente, após um curto período na posse da Ordem dos Templários, parece ter passado para os domínios dos condes de Vimioso.

Camilo Castelo Branco cita-a, com liberdade literária, como um dos cenários do romance "O Anátema".

Para a preservação e recuperação desta torre, foi notável a acção do padre João Parente, que muito se dedicou ao estudo do património existente no Distrito de Vila Real.

Encontra-se classificada como Monumento Nacional, por Decreto de 23 de Junho de 1910.[1]

Presentemente,[quando?] a autarquia planeia requalificar este património como um Museu de Heráldica e Armaria Medieval, ainda em fase de organização, exibindo aos visitantes, entre outros itens, representações das pedras-de-armas das principais famílias dos Distritos de Vila Real e Bragança.

O imóvel confronta com as propriedades dos condes Montenegro, os primeiros que em um dos seus títulos englobaram o nome da torre: morgado da Torre de Quintela. Próximo à torre ergue-se ainda um imponente solar do século XVII, também pertencente aos Montenegros, atualmente[quando?] a necessitar de obras.

Características

Torre senhorial em estilo gótico, apresenta planta no formato quadrangular, com cerca de 10 metros de lado, elevando-se a quase 30 metros de altura. Aproximadamente a meia altura em cada alçado, e em cada um dos vértices no topo, apresenta um balcão ameado com Mata-cães.

Dividida internamente em quatro pavimentos, era acedida por uma escada de madeira amovível, através de uma porta em arco de volta perfeito.

Torre de Quintela

The Mateus Palace (Portuguese: Palácio de Mateus, Solar de Mateus or Casa de Mateus) is a palace located in the civil parish of Mateus, municipality of Vila Real, Portugal. The three primary buildings are the manor, the winery and the chapel.
The winery buildings date from the 16th century and were modified in the 1800s. Architect Nicolau Nasoni was involved in the project for the construction of the palace, which took place in the 18th century, possibly between 1739 and 1743, according to one expert. The work was authorized by António José Botelho Mourão, 3rd Morgado of Mateus. The current manor replaced the former family house which was built in the same location in the early 1600s. In 1910, it was classified as a National Monument. The palace is owned by the Mateus Foundation.
It gives the name to the Mateus rosé wine brand.
The manor house
The palace is constructed following a rectangular plan open to the west, blocked by a building which demarcates a main courtyard and behind a private quadrangle.
Between the doorway and the courtyard, an ornamental pond, surrounded by trees, serves as a mirror.
The courtyard, opened like a U, is closed off by a balustrade.
Between the wings, the courtyard is closed by a transversing decorated structure of an emblazoned pediment, encircled by two statue guards in baroque style.
Its interior decoration includes some intricately carved chestnut wood ceilings, furniture from several periods, 17th and 18th century paintings and a library with many books.
The garden
Parts of the garden had been planted in the 1700s, modified in 1870 and expanded in 1930. In the 1950s and 1960s, the garden area was extensively modified and the lake was added to act as a mirror reflecting the manor house. A dense planting of chestnut and oak trees was added in the 1970s. The sculpture of a woman "sleeping" in the water was created by João Cutileiro and installed in 1981.