Estremoz Castle was raised in a dominant position over a hill, up North to the Sierra de Ossa, in the city of Estremoz, inside the district of Évora, in Alentejo, Portugal.

It is a castle with a pentagonal floor, with a walled enclosure reinforced with buttress which raises around the Torre de Menagem Keep, an spectacular tower made in white marble and 27 metres height. It is believed that the works for this monumental tower occurred during the reigns D. Alfonso IV, D. Pedro and D. Fernando. That is why it is known as Torres das Três Coroas (The Tower of the Three Crowns).

Besides the Medieval fence, the city of Estremoz counts with a vast fortified area from the epic Guerra da Restaruação (Restoration War), where you can distinguish the battlemented towers and two arch doors, and a rectangular tower with Roman-Gothic style with several windows.

The Paço Real Palace was restored by D. João V and it is found in the periphery of the castle.

On the top of this magnificent castle there is an overlook from where you can see different cities among the trimmed layer of the Alentejan plain. From here, on the clearest days, it can be seen the Serra da Estrela Range. A little bit closer, you can identify the cities of Marvão, Portalegre, Alter do Chão, Cabeço de Vide, Fronteira and Monforte.

Nowadays this castle also hosts a luxurious Pousada (Inn) which is the result of a magnificent adaptation of the palace that D. Diniz commanded to build for his wife, the Reina Santa Isabel.

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Castelo de Estremoz

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The Castle of Borba (Portuguese: Castelo de Borba) is a medieval castle located in the civil parish of Borba, municipality of Borba, Portuguese district of Evora.

History

Early History

Archaeological evidence dates the early human occupation of Borba site back to the Gallo-Celtic tribes, occupied successively until the time of the Muslim invasion of the Iberian Peninsula.

Medieval Era

During the context of the Christian reconquest of the peninsula, the town was taken by King Alfonso II (1211-1223) from the Moors in 1217. For its settlement and defense, the sovereign donated these domain to the Order of Aviz, encouraging the construction of the castle.

Because the region was in disputed territory with the Kingdom of Castile, under the reign of King Dinis (1279-1325), Borba definitely came into the possession of Portugal because of the signing of the Treaty of Alcanises in 1297. Due to its strategic importance, the king granted it a Foral charter in 1302, by which time he ordered the strengthening of defenses. King Manuel I (1495-1521) confirmed the town's charter.

16th century to modern era

In the Portuguese Restoration War, the town acquired strategic importance on the border As noted with other defensive structures in Portugal, the expansion of the urban area from the nineteenth century led to the integration of the medieval walls in houses. In the mid-twentieth century, the IGESPAR branch of the national government classified the castle as a site of Public Interest by Decree published on 18 July 1957.

Architecture

The castle has quadrangular shape according to its site plans. Its walls are constructed using stone masonry, topped by battlements in Gothic style. Its top is covered, in whole extension, by a battlement. The entrance gate is defended by two semi-circular plant turrets that surround a keep. On the exterior, originally, there was a moat.

Castelo de Borba

The Castle of Evoramonte, alternately spelled Évora Monte or Évoramonte, (Portuguese: Castelo de Évora Monte/Castelo de Evoramonte) is a Portuguese castle in the civil parish of Evoramonte, municipality of Estremoz in the former district of Évora. Initiated in 1160, in the Gothic period, it was enlarged in later centuries in the Manueline style. It was at this site that the Concession of Evoramonte (or the Convention of Evoramonte) on was signed on 26 May 1834, that ended Liberal Wars between the Liberal forces of Queen Maria II of Portugal (under the regency of her father Peter VI of Portugal) and Absolutist armies of Miguel of Portugal. Since 1910, it has been listed as a Portuguese National monument.

History

Sometime during the 12th century, the region of Évora Monte was conquered from the Moors by the forces of Geraldo Sem Pavor. By 1248, a foral (charter) was issued to the region to provide incentives for settlement, which was reaffirmed in 1271.

Around 1306, King Denis ordered the fortification of the town: it was at this time that construction of the castle began, that included the main structure, walls and gates.

After the rise of John I of Portugal to the Portuguese throne, the castle and associated lands were given to the constable Nuno Álvares Pereira, who later passed them on to his grandson.

A new foral was issued in 1516, by King Manuel. The reconstruction campaign during Manuel's reign, beginning in 1516, resulted in the fortification with four cylindrical towers defining the rectangular perimeter by Francisco de Arruda (completed in 1531).

The 1531 Lisbon earthquake destroyed the keep tower of the medieval castle. This structure was then rebuilt by Teodósio I, Duke of Braganza, who, at that time, was master of the region and town.

On 26 May 1834, the Concession of Evoramonte was signed between Miguel of Portugal and his brother Peter IV of Portugal, in the name of his daughter Maria da Glória, ending the Liberal Wars.

In 1855 the municipality of Evoramonte was extinguished, and its historical administration divided into the neighbouring municipalities of Estremoz, Évora, Arraiolos and Redondo.

Between 1930 and 1940, were the first public works to recuperate and renovate the grounds and castle of Evoramonte, under the supervision of the Direcção Geral dos Edifícios e Monumentos Nacionais (DGMEN). These actions, which primarily occurred in 1937, included the restoration of the towers and the consolidation of the parapets.

Subsequent interventions occurred between 1971-1979, in projects to restore the castle; 1980-1981, in the recuperation of the walls; in 1982, the construction of a sanitation system; followed in 1984 by new restoration projects, culminating in the phase two project in 1986 (which included construction and restoration accompanied with photography of the repairs). Finally in 1987, electricity was installed on the grounds.

On 1 June 1992, under Decree 106F/92, this building was transferred into the stewardship of the Instituto Português do Património Arquitectónico (IPPAR), in order to rehabilitate and monetize the structure.

February 2006, marked the beginning of commemorations to celebrate the castle's 700 years of existence.

Architecture

The castle crowns the escarpment of Serra d' Ossa, with a commanding view of the local and distant routes, dominating one of the largest squares in Portugal: the municipality of Estremoz.

An unusual rectangular building, the castle includes circular towers molded into the structure, providing the castle with an aggressive and powerful characteristics. The building is much larger at the base, and is chamfered to the height of its three storeys, and crowned by large merlons. The three floors are clearly delineated by a ring-shaped cornice at each level, typical of the Manueline style, these cornices are sculpted into a rope, tied at the frontispiece of the structure. At various places along the cylindrical towers are canon emplacements, narrower to the interior, that provide an image that is bellicose and somber. On each storey there is a rectangular window, except on the ground floor exposed to the north, where a portico is fixed.

In the large salon on the first floor, the vaulted ovular ceiling is supported by four columns, and raised into a mess of sculpted veins. A similar lattice, though smaller, is used in the remaining floors. By the cylindrical towers in the west, a circular staircase provides access to successive floors.

Castle of Evoramonte

O Castelo de Veiros, no Alto Alentejo, localiza-se na vila e freguesia de Veiros (Estremoz), concelho de Estremoz distrito de Évora, em Portugal.

Em posição dominante sobre uma colina escarpada, na Idade Média integrava a defesa composta pelos castelos de Monforte, Campo Maior e de Ouguela. Atualmente inscreve-se na Área Turístico-Promocional de Planícies.

História

Antecedentes

Acredita-se que a primitiva ocupação humana de seu sítio remonte a uma povoação romana conforme parece indicar a sua antiga toponímia, Valerius.

O castelo medieval

À época da Reconquista cristã da península, a povoação foi conquistada em 1217 pelas forças de D. Afonso II (1211-1223), cujo domínio teria entregue aos cavaleiros da Ordem de Avis, então sob o comando do Mestre D. Fernão Anes. Embora não se conheça a data precisa de fundação do castelo, terá sido contemporâneo dos castelos de Alandroal e de Noudar, também erguidos pela Ordem na região. Era Comendador de Veiros, em 1299, Martim Fernandes, 6º Mestre da Ordem.

Sob o reinado de D. Dinis (1279-1325), sendo 8º Mestre da Ordem, D. Lourenço Afonso, foi iniciada a construção da Torre de Menagem, no alto da colina, em 20 de Maio de 1308, sendo mestre das obras Pero Abrolho conforme duas inscrições epigráficas no recinto do monumento.

Sob o reinado de D. Fernando, aqui nasceu, em 1377 ou 1380, D. Afonso, 8º conde de Barcelos e 1º duque de Bragança. O iniciador da poderosa Casa de Bragança era filho ilegítimo do Mestre de Avis e de Inês Pires Esteves, esta por sua vez filha de Pêro Esteves, conhecido como “o Barbadão”. Esta alcunha veio-lhe do fato de, ciente da relação entre a sua filha e o então Mestre de Avis, ter-lhe sobrevido tamanho desgosto que, em sinal de protesto, nunca mais a quis ver, tendo jurado (e cumprido) que nunca mais cortaria a barba. O túmulo deste patriarca encontra-se na Igreja de Nossa Senhora do Mileu, em Veiros.

Ainda no reinado deste soberano a povoação e seu castelo foram atacados por forças de Castela (1381).

O terramoto de 1531 causou danos consideráveis ao castelo, que foi reconstruído no reinado de D. João III (1521-1557).

Da Guerra da Restauração aos nossos dias

À época da Guerra da Restauração, a vila e seu antigo castelo medieval sofreram o ataque das tropas de D. João de Áustria (1662), tendo como resultado a explosão da Torre de Menagem, então utilizada como paiol de pólvora. Pouco depois, em 1665, foi novamente ocupado, agora por tropas sob o comando do marquês de Caracina. O Conselho de Guerra de D. Afonso VI (1656-1667) determinou-lhe obras de reforço nas defesas, tendo as ameias medievais sido obstruídas por um novo parapeito.

Veiros foi sede de Concelho até 1855, quando foi abolido, sendo anexado, em 1895, ao de Estremoz.

O castelo foi objeto de obras de restauro geral por parte do poder público em 1939. Encontra-se classificado como Imóvel de Interesse Público por Decreto publicado em 18 de Julho de 1957.

Mais recentemente, de 1998 a 2000, a Câmara Municipal de Estremoz procedeu-lhe nova intervenção, visando recuperá-lo no âmbito do Plano Global de Intervenção do Centro Rural de Veiros.

De propriedade particular, o castelo pode ser visitado diariamente, encontrando-se a chave a cargo da Junta de Freguesia de Veiros.

Características

Castelo roqueiro, apresenta planta no formato trapezoidal, com muralha em aparelho de alvenaria de xisto com cantaria de granito e mármore em elementos secundários. Esta muralha, com cerca de dois metros de largura, é percorrida no topo por adarve e amparada originalmente por nove cubelos. Em seus panos rasgavam-se quatro portas, voltadas para os pontos cardeais, das quais restam três (a Sul, Oeste e Norte, esta em arco quebrado, de vão mais largo que as demais).

Tendo desaparecido a Torre de Menagem, das oito torres remanescentes, seis apresentam planta semi-circular, enquadrando as portas Sul, Oeste e Norte e duas, uma de planta circular e outra quadrangular, defendem o paramento Norte. 

No conjunto destaca-se ainda a chamada Torre do Relógio, com campanário a crer-se quinhentista. No recinto do castelo ergue-se a Igreja Matriz, sob a invocação de São Salvador, datando de finais do século XVI, que substituiu uma primitiva igreja do século XIII.

Castelo de Veiros

The Ducal Palace of Vila Viçosa (Portuguese: Paço Ducal de Vila Viçosa) is a royal palace in Portugal, located in the civil parish of Nossa Senhora da Conceição, in the municipality of Vila Viçosa, in the Alentejo, situated about 150 km (93 miles) east of the capital Lisbon. It was for many centuries the seat of House of Braganza, one of the most important noble houses in Portugal which was the ruling house of the Kingdom of Portugal from 1640 until 1910 when King Manuel II, titular head of the family, was deposed in the 5 October 1910 Revolution which brought in a Republican government.
History
Vila Viçosa became a fiefdom of the Dukes of Braganza when Fernando I of Braganza succeeded his father Afonso, 1st Duke of Braganza, and received the title of Count of Arraiolos from his grandfather, Nuno Alvares Pereira. Fernando I established his seat at the primitive Vila Viçosa Castle. However, following the 1483 execution of his son, Fernando II, 3rd Duke of Braganza, for treason by order of King John II of Portugal, the family was exiled to the Kingdom of Castile. Returning in 1498 (after the death of King John II in 1495), the family regained its ancestral lands, although Jaime, 4th Duke of Braganza (Fernando II's successor), declined to live in the Castle of Vila Viçosa, owing to its association with his father's betrayal and murder.
Construction of the ducal palace of the Dukes of Braganza began during the tenure of Duke Jaime of Braganza, between 1501–1502. It was situated in the Horta do Reguengo outside the walls of the nearby medieval village, in an area that was "characterized by extensive olive orchards and an abundance of water", presenting some similarities to the feudal residences of the region, such as the Sempre Noiva or Paço de Alvito. The House of Braganza regained much of its power and wealth over time due to Duke Jaime's close kinship with the royal family (he being the nephew of King Manuel I of Portugal) and his actions in reconciling relations between the nobles. Duke Jaime of Braganza commanded the victorious expedition to Azamor in 1513, and having secured a pardon expanded the wealth of the House of Braganza, and contributed to the growth of the ducal palace.
In 1535 Teodósio I, 5th Duke of Braganza was appointed Constable of the Kingdom. He managed to negotiate the marriage of his sister, Isabella of Braganza, with Infante Edward, 4th Duke of Guimarães (a brother of King John III of Portugal), securing a closer association with the royal family. Following the need to expand the palace for the celebrations of the royal marriage, Teodósio I began the construction of the imposing facade,[clarification needed] faced with marble in the Italianate-style, and in 1558 began the installation of the Sala de Música (Hall of Music). As Rafael Moreira (1997) indicated, the first building was a designed and decorated in the Manueline style, and was remodelled in classical lines, along with the adjacent buildings and the expansion of the square in front of the building. It was inspired by the profile of the Ribeira Palace in Lisbon. Extensive remodeling later occurred in 1566, during the tenure of João I, 6th Duke of Braganza.
It was the 7th Duke, Teodósio II, who in 1583 began the grand works of the classical facade, completed in 1635 during the regency of King John IV of Portugal, formerly Duke of Braganza. In 1602, Teodósio II married the Spanish noblewoman Ana de Velasco y Girón, hoping to produce heirs. In commemoration of the marriage a composition of azulejo tiles by Fernando Loyaza, known as the Talavera de la Reina, was installed in the Sala Grande (Great Hall). The whole project of the classical facade was firstly executed by Nicolau de Frias, royal architect, but was later supplemented by Pedro Vaz Pereira and Manuel Pereira Alvenéo. The monumental facade was completed in the Mannerist style, consisting of two floors, one with Tuscan capitals, the other with Ionic capitals. Later, in 1610, construction began of an additional third floor. In about 1611 the fireplace in the Sala de Medusa (Medusa's Hall) was designed and constructed by Pêro Vaz Pereira. Following the 1640 ascension of João II, 8th Duke of Braganza to the throne of Portugal as King John IV, the palace lost its importance as the permanent residence of the Dukes of Braganza.
The first new remodelling to the Palace occurred in the 18th century, with the installation of an organ in the chapel. In 1716 King John V began minor renovations. Later, in 1762 under Queen Maria I of Portugal, the construction began of the main tower fronting the Duchess's Garden (or Forest Garden) and of a new wing, formally designated as the Quartos Novos (New Quarters). This included the Sala de Jantar (Dining Hall), which along with the other works, was finally completed under her successor, King Joseph I of Portugal in 1770.
During the Napoleonic invasion of the Iberian peninsula, the Portuguese royal family fled to Brazil, and the palace was closed.
Long after the return of the royal family to Portugal, King Carlos I of Portugal and his wife Amélie of Orleans began the renovations of the New Quarters, to the designs of the Frenchman Negrier, in order to serve as their residence. After a period of living in these quarters as his semi-official residence, on 1 February 1908 King Carlos I returned with his family to Lisbon, where he was later assassinated.
On 5 October 1910 a revolution, instigated by Republican sympathizers, caused the royal family to flee to England and the residences of the monarchy were closed to the public.
In 1932, whilst in exile, King Manuel II of Portugal died from an abnormal swelling in the throat. His will ordered the creation of a foundation to safeguard the royal estate, which led to the creation of the Fundação da Casa de Bragança (House of Braganza Foundation). As part of this process, a systematic inventory and assessment was undertaken of the contents of the Palace by the DGEMN (Direcção Geral dos Edifícios e Monumentos Nacionais, "General-Directorate for Buildings and National Monuments") completed in 1938. Between 1945 and 1952 the DGMEN initiated public works to restore the Palace after years of neglect, supplemented by repairs to the roof in 1963.
It was not until 18 May 1984 that the palace was opened to the public, including one of the largest and most varied permanent expositions of carriages in Europe.
A re-tiling of the central wing was completed in 1985–1986, followed in 1989 by a similar project in the Ala dos Moços ("Children's Wing") in 1989.
Architecture
Located in the urban context of Vila Viçosa, the palace is situated on a stable plain at the foot of the castle hill. Rising 395 metres (1,296 ft) above this context, on a grand space, it fronts other historical buildings, including the Church of the Augustine Friars (Portuguese: Igreja dos Agostinhos), the Episcopal Palace (Portuguese: Paço do Bispo) and Convent of the Stigmata (Portuguese: Convento das Chagas).
The building consists of a grand rectangular profile, extending east to west, with three floors, and an irregular trapezoid structure to the north-south, with the roofing differently tiled above each of the spaces. The principal facade is fully lined with ashlar masonry and pink Estremoz marble, corresponding to the three respective floors and central pediment broken by two main doorways. The rest of the facades are broken by a series of rectangular windows, that harmoniously divide the surface in a rhythmic classic pattern, some with semi-circular pediments and framed cornices. Pilasters and architraves define the horizontal and vertical frames of many of the windows, giving the whole composition great sobriety and classicism.
The Lady's Garden occupies a comparable space by the residence, consisting of symmetrical patterns interspersed with sculptures of ancient shells and royal cavalry.
Interior
Access to the residence is made across the vestibule. From this space is the main marble staircase and marble walls, as well as a painted mural fresco representing the Tomada de Azamor (Taking of Azamor) in northern Africa in 1513 by Portuguese troops, commanded by James, Duke of Braganza. On the left-side is the disembarkation (Portuguese: Desembarque), to the centre the preparations of the encirclement (Portuguese: Preparativos do Cerco) and to the right the conquest of the fortress (Portuguese: Conquista da Praça).
In the first years of the 17th century, the palace received a decorative palette, considered "one of the richest group of fresco mural paintings encountered in Portuguese art". The rooms in the Palace extend along the horizontal plane, with a single corridor linking the spaces, including the Sala das Tapeçarias (Tapestry Hall), with sillar covered in 17th-century polychromtic blue-and-white azulejo tile, white marble fireplace, tile floor, and vaulted ceiling with phytomorphic painting. Several of the main rooms include spaces with painted fresco ceilings, and 17th-century blue-and-white/yellow azulejo tile, such as the Sala do Gigante (Hall of the Giant), with 16th-century fresco depicting the biblical episode between David and Goliath, which is framed by the arms of the Dukes of Braganza; the Oratório da Duquesa (Duchess' Oratory); andSala de Medusa (Hall of Medusa), with a painted fresco representing the battle between Medusa and Perseus. These group of paintings were"largely faithful to the aesthetic canons of the Italianate Mannerists". The compositions are replent in Moorish-influenced motifs executed between 1600 and 1640 by different painters: Tomás Luís, famous Lisbon painter, was attributed to the "two notable mural [ceiling] decorations" in the Hall of Medusa and the gallery of Duchess Catherine and José de Avelar Rebelo painted the ceilings of the Music Pavilion. The remainder of these rooms extend laterally through the accessway: the Sala de D. Duarte (Edwards' Hall), with a painted ceiling, with anthropomorphic elements and tiled floor; the Sala dos Duques (Hall of the Dukes) or Sala dos Tudescos is a noble salon and largest room in the building, decorated with frames of 17 Dukes of Braganza, from Joseph I: the Sala das Virtues (Hall of Virtues) has an artesnal ceiling comprising framed paintings showing the seven theological virtues and morals, among them: Fé (Faith), Esperança (Hope), Caridade (Charity),Prudência (Prudence), Justiça (Justice), Forteleza (Strength), Temperança (Temperance) and Sapiência (Wisdom); and theSala de Jantar (Dining Hall) there is a similarly paneled ceiling with medallions, decorated in classical and mythological motifs. The rooms five doorways give access to the Jardim das Damas (Lady's Garden).
A chapel, referred to as the Sala dos Paramento/Órgãos (Hall of the Vestments/Organ) is covered in a vaulted ceiling with comparably painted roof frames.
The Pavilhão da Música (Music Pavilion) is an exceptional example: it consists of a painted wood ceiling, sillar with 17th-century azulejo tile depicting figures in panchromatic tiles in yellow, blue, green and red, representing the history of Tobit (Portuguese: Tobiãs) with the coat-of-arms of the Dukes of Braganza, and signed FIAB.
In addition, there are several other "named" rooms in palace, including the Sala D. Duarte (D. Duarte's Hall), Sala D. Fernando II (Ferdinand's Hall), Sala do Século 17 (17th-century Hall), Sala da Restauração (Restoration Hall), Sala de Hércules (Hall of Hercules), Sala Dourada ou da Duquesa (Golden Hall or Duchess Hall), named for Catherine wife of the 6th Duke, the Sala da Cabra Cega (Hall of the Blind Goat); Sala Indo-Portuguesa (Portuguese-India Hall); Sala das Loiças (Hall of Dishware); Sala dos Vidros (Hall of Glass); Sala dos Reis (Kings' Hall); the armory; and the famous wing of the New Quarters, named for the fact that it acted as the residence and studies for the King, with diverse antechambers, and corridors. Near the kitchen are the ovens, wine cellars, avery and storage spaces.
Azulejos
There are two panels (1558) made by Flemish Joan Boagerts in Antwerp. The rest of the historical azulejos (17th-century) that has the Ducal Palace are located in the Sala do Gigante and were made by Spanish Talavera de la Reina pottery, are of the very few of the kind still implanted in the place where they were designed, after the destruction of the historic center of Guadalajara during the Spanish Civil War.

Ducal Palace of Vila Viçosa

The fascinating Castelo de Vila Viçosa Castle (13th c.) is surrounded by a trench and two cylindrical turrets, in the city of Alentejo named Vila Viçosa.

This walled fortress was the home of the Bragança family before the construction of the Paço Ducal (Ducal Palace). It has been currently adapted to host two museums: the Archeology Museum and the Museu de Caça (Hunting Museum).

Both museums are a must visit, even if it is just as an excuse for wander by the castle, which has secret passages, huge hearths and beautiful vaulted roofs.

The archeology collection is marvelous and occupies numerous rooms. Its exhibitions comprise several ages, from the Paleolithic to the Roman era, and even Egyptian treasures.

The Museu de Caça (Hunting Museum), a little less interesting than the previous one, is crowded with weapons and animal trophies which belonged to the Dukes of Bragança.

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Castle of Vila Viçosa

The Castle of Redondo (Portuguese: Castelo de Redondo) is a medieval castle located in the civil parish of Redondo, in the municipality of Redondo, Portuguese Évora.

History

In 1250, a foral (charter) attributed to King D. Afonso III was issued to Redondo. At the same time, the king ordered the construction of a castle over the ruins of the ancient Roman fortress.

The castle was part of the northern Alentejo fortifications restructured by King D. Dinis that were donated to members of the nobility during the late medieval epoch, representing significant alterations during the Manueline era. By order of King D. Dinis, in 1312, the castle was reconstructed, during the same epoch as the erection of the keep tower and the fortification wall and towers. On 27 April 1318, the foral was reconfirmed by King D. Dinis.

In 1418, King D. John conceded privileges to the castle and obligated that travellers between Alandroal and Vila Viçosa pass through the settlement, as a way of expanding commercial activities in the town.

Between the 15th and 16th century, the Torre da Alcaidaria (Alcalde Tower) lost most of its importance, while the residence of Redondo petitioned the king to construct a new tower. By the end of the 15th century, the construction of the keep tower was completed, and the structure became part of the donation of Vasco Coutinho, by King D. Manuel I.

On 2 June 1500, Vasco Coutinho was nominated as captain of Arzila, as the first Count of Redondo.

A new foral was signed by King D. Manuel I on 20 October 1516.

Sometime in the 18th century, there were reports of vestiges of the palace of the Counts of Redondo in the periphery of the keep tower.

The DGEMN Direcção Geral dos Edifícios e Monumentos Nacionais (General-Directorate for Buildings and National Monuments) began restoration work on the keep tower in 1920. Between 1940 and 1950, the keep tower was used as a support building for the hospital of the Santa Casa da Misericórdia. During this period, it functioned as an isolation centre for patients infected with tuberculosis. Around 1961, the fortification walls around the parochial residence were in danger of collapse.

Further work on repairing the castle structures continued from the 20th century on, with the repair of the walls in 1943, and conservation and consolidation projects to shore-up the structure between 23 and 27 April 1962, including the restoration of the Portas da Ravessa (Gates of Ravessa). Similar projects advanced in 1976 and 1986, including repairs to towers, which were supplemented by efforts of the municipal council of Redondo, that included the repairs of wooden doors and windows of the keep tower and reinforcement of the joints of the Ravessa gate.

Architecture

The castle is situated in an urban location, on the southern flank of the Serra d'Ossa, 24 kilometres (15 mi) southwest of the right margin of the Guadiana River. It is located in the town of Redondo, on a hilltop 300 metres (980 ft) above sea level, with a portion of the town's residential dwellings within its walls, as well as along the cliffs. From the top of the keep tower it is possible to see the Castle of Evoramonte and portions of the Serra d'Ossa, in the northwest.

Within the walls the buildings are typical Alentejano architecture, with large rectangular chimneys, single-storey dwellings, white-washed with highlights in ochre and blue. Within the walls and near the keep tower is the Hospital of Santa Casa da Misericórdia do Redondo and, to the west, the parochial church of Nossa Senhora da Anunciação. The castle is situated along an Évora defensive line during the medieval period along with the castles of Estremoz, Monsaraz and Portel.

Castle of Redondo

The Castle of Alandroal (Portuguese: Castelo do Alandroal) is a medieval castle in the civil parish of Alandroal (Nossa Senhora da Conceição), São Brás dos Matos (Mina do Bugalho) e Juromenha (Nossa Senhora do Loreto), municipality of Alandroal, Portuguese district of Évora, classified as a National Monument.

History

The Gothic castle of Alandroal was one of the military constructions during the reign of King D. Denis, dated from several inscriptions and commemorative plaques located within the fortress. The first dates to 6 February 1294  and is situated over the gates of the fortress. These plaques indicate that the project promoter was the Master of the Order of Avis, then D. João Afonso, who was responsible for placing the first stone on that date. The second plaque recalls the placing of the first cornerstone in 1294, by Lourenço Afonso, 9th Master of the Order of Avis, their founder, located in the western part of the keep tower. The construction of the fortification continued until 1298 and were attributed to a Moor, named Galvao, illustrating a distinction between Moorish adversaries of the time and common workers.

Between 1383 and 1385, Pedro Rodrigues, was the alcalde of the fortress. Yet, in the following years, Alandroal played little role in the organization of the military lines of the region, and it quickly began to decline.

By 1606, the interior of the castle, including the residential spaces were already in a considerable state of ruin. But, in 1774, the construction of the clock tower had already preceded indicating a level of recuperation at the site.

The barbican was destroyed in 1778 and materials from the site were used in the construction of the new municipal buildings. Between 1786 and 1793, the comarca's jail was constructed, resulting in the eventual demolition of the tower and primitive belfry (where the clock was installed).

The DGEMN undertook significant rebuilding and restoration on site between 1943 and 1946, as well as 1958, to restore the military square and several of the fortified wall. This included the restoration of the keep tower and demolition of some homes in order to open-up the castle spaces. The staircases along the battlements were regularized and stabilized, with reconstruction occurring on many of the rises. Modern projects in 1980 and 1986 also attempted to stabilize the foundation and clear plant infestants that covered the site, in addition to masonry repairs to improve water flow along the walls, merlons and tower near the Church of the Misericórdia.

The decaying structure was placed under the stewardship of the Instituto Português do Património Arquitetónico (IPPR) on 1 June 1992 (Decree 106F/92, Diário da República, Série 1A, 126).

Architecture

The castle is situated on the most elevated point of the town of Alandroal. Dating back to the 13th century, this medieval fortress is typical of the Gothic fortifications of the period based on an oval design, with keep addorsed to a circuit of walls and gate (designated the Legal Gate), protected by two rectangular towers, slightly advanced to allow protection at the entranceway. Originally, the castle included a small quarter within its walls divided by a singular roadway (the Rua do Castelo) oriented west to east and flanked by two gates (the aforementioned Legal Gate and the Arrabalde Gate).

The keep tower is a rectangular structure divided into three floors, whose interior access has been sealed. This doorway provided access (sometime later in its history) to the matriarchial church at the location (sometime in the 18th century). At the top of the keep tower, a clocktower was implanted, that included three bronze bells.

The military square has two lateral staircases that lead to the battlements. The traitor's gate (today obstructed) crosses the Cadeia forte (Jail Fort), named for the addorsed western structure used as the jailhouse for regional comarca (a rectangular tower with grated and gross windows). The tower of this forte has a rectangular plan and rectangular dependency with stone balcony (to the west) with arch and sculpted capitals.

Castle of Alandroal

O Palácio do Conde de Azarujinha é um palácio alentejano situado na Azaruja, localidade do concelho de Évora, Portugal.
Trata-se dum edifício simples, com um único andar sobre o piso térreo, em estilo neoclássico construido no decorrer do século XIX. Era frente a este palácio que se realizavam as feiras francas. Separada por uma pequena rua, fica a igreja palaciana, edifício que completa o conjunto.
O Conde de Azarujinha ficou conhecido por, em finais do século XIX, ter dividido uma das suas propriedades em 200 pequenas courelas - 90 na própria freguesia de São Bento do Mato (Courelas da Azaruja) e as restantes na vizinha freguesia de São Miguel de Machede (Courelas da Toura) - como forma de fixar população.
Este palácio encontra-se, de alguma forma, ligado às lutas liberais. Acredita-se, tradicionalmente, que numa das salas ocupada pelo Quartel General do Exército de D. Pedro IV, foi redigido e assinado o documento de rendição imposto, em Maio de 1834, pelo Duque da Terceira e pelo Marechal Saldanha ao Rei D. Miguel, depois da tomada de Arraiolos e Vimieiro. Daqui terão partido dois cabos de guerra para o Castelo de Évoramonte, onde foi firmada a Convenção que pôs termo às lutas liberais.