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

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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 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 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

A Fortaleza de Juromenha localiza-se na freguesia de Juromenha, concelho de Alandroal, distrito de Évora, em Portugal. Entre a Guerra da Restauração e a Guerra Peninsular, sobre o rio Guadiana cuja travessia fechava, foi considerada uma das chaves da fronteira do Alentejo.

História

Antecedentes

Dominando este ponto de travessia do rio Guadiana, a ocupação de seu sítio remonta a galo-celtas e a Romanos. Ocupada mais tarde quando da Invasão muçulmana da Península Ibérica, à época da Reconquista cristã da península manteve-se por dois séculos como posto-avançado de defesa da importante cidade de Badajoz, desde o século X em mãos do Califado de Córdoba.

O castelo medieval

A povoação e o seu castelo foram conquistados desde 1167 pelas tropas do rei D. Afonso Henriques (1112-1185), auxiliado pelas forças do lendário Geraldo Sem Pavor. Como recompensa, o soberano nomeou este último como alcaide do castelo. Povoação e castelo retornariam às mãos dos muçulmanos, sob o comando do califa Iacube Almançor, em 1191, para serem definitivamente conquistadas por forças portuguesas, sob o comando de D. Paio Peres Correia, em 1242.

Objeto de preocupação do rei D. Dinis (1279-1325), este lhe incrementou o povoamento, concedendo-lhe Carta de Foral em 1312 e lhe promoveu importantes reforços nas defesas. Passou, assim, a contar com muralhas de taipa revestidas em cantaria de granito e ardósia, às quais se adossavam 16 torres quadrangulares, dominadas por uma imponente Torre de Menagem que se alçava a 44 m de altura.

As bodas do rei D. Afonso IV (1325-57) com D. Beatriz de Castela (1309) e de Afonso XI de Castela com D. Maria de Portugal foram celebrados neste castelo.

O seu foral seria confirmado no reinado de D. João II (1481-1495), a 28 de Agosto de 1492, e a povoação e seu castelo encontram-se figurados (lado norte) por Duarte de Armas no seu Livro das Fortalezas (c. 1509).

Praça-forte da Juromenha
Foi reforçado e ampliado à época da Guerra da Restauração da independência de Portugal, quando foi erguida a Fortaleza de Juromenha, com cuja história passa a se confundir. No contexto da Restauração da independência portuguesa, a partir de 1640, ante a iminência de uma invasão espanhola, impôs-se a completa reestruturação das fortificações fronteiriças de Portugal, adaptando-se as estruturas ainda medievais às exigências da artilharia da época. Diante da precariedade da defesa constituída pelo Castelo de Juromenha, que remontava à Idade Média, foram apresentados, em 1644, três diferentes planos para modernização desta defesa ao Conselho de Guerra do rei D. João IV (1640-1656):

o de autoria do engenheiro-militar e arquitecto italiano Pascoeli, descartado por oferecer uma proteção insuficiente;

o do jesuíta neerlandês Cosmander, que veio a ser eleito na ocasião, mesmo em face dos elevados custos e dificuldades técnicas;

o do francês Nicolau de Langres, que, em face da paralisação do projecto do seu antecessor, veio a ter este aprovado em 1646, assumindo as obras.

Com os trabalhos ainda em andamento, um incêndio fez saltar o paiol da pólvora (Janeiro de 1659), o que causou a destruição de parte expressiva das estruturas já edificadas e do antigo Paço Municipal. Uma centena de homens da guarnição (estudantes da Universidade deÉvora) e três mestres que os capitaneavam, perderam a vida na ocasião.

Passando-se para o serviço da Espanha, Langres comandou, em pessoa, a artilharia inimiga quando do ataque de 1662, capturando esta fortificação que ele mesmo construíra. Esta praça permaneceu ocupada por tropas espanholas até ao Tratado de Lisboa (13 de Fevereiro de 1668), quando retornou à posse da Coroa portuguesa.

Os séculos XVIII e XIX

A fortaleza sofreu severos danos com terramoto de 1755, tendo-lhe sido efetuadas obras de reparo e de ampliação, quando foi adossado um novo baluarte à muralha pelo lado do rio Guadiana, para defesa do ancoradouro.

No início do século XIX, no alvorecer da Guerra Peninsular, foi entregue, sem resistência pelo seu Governador, às tropas espanholas quando da chamada Guerra das Laranjas, para ser recuperada apenas em 1808.

Com a perda de sua função defensiva diante da evolução dos meios bélicos, entrou em decadência, até ao seu abandono em 1920.

Os dias de hoje
A partir de 1950 a Direcção-Geral dos Edifícios e Monumentos Nacionais (DGEMN) iniciou-lhe extensas obras de consolidação e reparo, que se estenderam, com intervalos, até 1996.

Encontra-se classificada como Imóvel de Interesse Público através do Decreto nº 41.191, de 18 de Julho de 1957.

Em precário estado de conservação, encontram-se concluídos os trabalhos de prospecção arqueológica, encontrando-se pendente de aprovação um projeto de requalificação de suas dependências como instalação hoteleira, inscrito num programa mais vasto de turismo para a região, desde 2005.

Actualmente podem ser observados trechos de muralhas e de edificações representativos dos seus diversos períodos construtivos, onde às estruturas medievais se misturam os elementos arquitectónicos típicos das fortalezas abaluartadas.

Fortaleza de Juromenha

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

The Castle of Terena is a castle in the civil parish of Terena in the municipality of Alandroal in the Portuguese subregion of Alentejo Central. Since 1946, it has been listed as a National monument.

History

The origins of the castle are found in the period of the early Middle Ages, specifically in the 13th century, a period in which the high Guadiana was a frontier territory with Castile. The earliest registers indicated that a foral was passed by royal knight Gil Martins and his wife, D. Maria João in 1262. It is unclear whether, after this charter, the construction of the structure was begun. Owing to the interest of King Denis to consolidate his kingdom's frontiers, the castle was part of a course of fortresses that included Castle of Elvas, Castle of Juromenha and Castle of Alandroal. Another perspective suggests that the castle was actually constructed in the 15th century, during the reign of King John I of Portugal. This hypothesis is founded in the donation of the town of Terena to the Order of São Bento de Avis, which could have been the impetus for the site to be renovated from a previous garrison (although it highly dubious). By 1380, the castle and its barbican was already identified, indicating clearly that the fortress was under construction.

In 1482, King John II named Nuno Martins da Silveira as alcalde and, in the first decades of the 16th century, this redoubt was amplified during public works, that left behind several visible structures. What is clear, is that a considerable portion of the structure survived from the 14th century.

Remodeled in 1509, the architect Duarte d' Armas reoriented the entranceway through the keep tower, and erected two towers on either side of this structure.

A new foral was issued in 1512 by King Manuel I of Portugal. A couple of years later, the keep tower was remodelled again, this time by Francisco de Arruda, who altered the systems of access: he constructed a barbican, that forced the visitor to follow a path that was less direct to the main road.

In 1652, the castle was occupied and then sacked by Castilian forces commanded by the Duke of S. German. During the Portuguese Restoration War, workers completed alterations to the garrison, constructing a gate towards Spain, between two cubels.

The courtyard of the castle was damaged during the events of the 1755 Lisbon earthquake, although there is no evidence that it was restored, as by that time it had already become abandoned.

Republic

On 13 January 1979, the castle was ceded to the Junta de freguesia de Terena.

Various points along the walls were restored, and portions reconstructed along the castle's flanks, along with the establishment of the staircase in 1937.

In 1970, the masonry was retouched, and repairs were completed on the walls. Among the changes were repairs made in cement, that included the re-plastering of the vaulted ceiling in the tower keep. The following year the walls were, once again, repaired, this time including the merlons, while masonry and repairs to the gate were completed in 1977.

Within a decade similar projects would occurring in 1981–82, 1984–85, 1986 and 1987, that included work on the walls, staircase, vaulted ceiling, doors and windows, in addition to the construction of a wooden staircase (to access the tower) and landscaping.

Architecture

The castle is located in a rural part of Terena, over a pronounced hilltop overlooking the town, dominating the extreme edge of the ravine and reservoir of Lucefece and surrounding landscape. The Castle lies in the vicinity of the sanctuaries of Endovélico and Church of Nossa Senhora da Boa Nova.

It is an irregular pentagon, flanked by four semi-circular towers and three angular bastions. The rectangular keep or prison tower, approximately two storeys in height, has several vaulted compartments that are lit by cruciform slits in the walls. A rectangular barbican, with Roman arched gate that includes adarve. The castle is accessible from three gates: the Traitors' Gate and the Gate of the Sun (which was obstructed since the Restoration Wars) and the village gate (the main entrance), which is protected by the barbican.

Castle of Terena

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

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

A Praça-forte de Elvas, no Alentejo, localiza-se na freguesia da Alcáçova, na cidade e concelho de Elvas, distrito de Portalegre, em Portugal.

Distante apenas quinze quilômetros de Badajoz, Elvas constituiu um ponto estratégico da defesa lindeira da nação, na região do Alto Alentejo. Por essa razão, concentrou, ao longo dos séculos, um poderoso sistema defensivo, baseado nas suaves elevações distribuídas pela planície circundante e no vizinho rio Guadiana, sendo cognominada como Rainha da Fronteira.

História
O castelo medieval

Os constantes conflitos pela posse dessa região lindeira com Castela atravessaram os reinados de D. Dinis (1279-1325) - que deu Carta de Foral à Vila (1231) e lhe ampliou as defesas -, de D. Fernando (1367-1383) – que a dotou de uma terceira cintura de muralhas -, de D. João II (1481-1495) e de D. Manuel I (1495-1521), propiciando a esta vila um notável sistema defensivo, que no início do século XVI ostentava uma tripla cintura de muralhas, vinte e duas torres, onze portas e barbacã.

A Praça-forte

No contexto da Guerra da Restauração da independência portuguesa, a importância da posição estratégica de Elvas, sobre a fronteira com a Espanha, tornou-a sede do Governo das Armas do Alentejo, sob o comando de Matias de Albuquerque, militar experiente nas campanhas do Brasil, que lhe iniciou extensas mudanças e importantes reforços na estrutura defensiva. Esse aparato seria testado em pouco tempo, quando estando guarnecida por um efetivo de apenas dois mil portugueses resistiu a um cerco de quinze mil espanhóis, sob o comando do Marquês de Torrecusa, por nove dias (Novembro de 1644). Novamente sitiada em fins de 1658, a vitória portuguesa na batalha das Linhas de Elvas (14 de Janeiro de 1659), salvou esta Praça-forte e o reino de cair uma vez mais em poder de Filipe IV de Espanha. A sua folha de sucessos indica ainda a resistência aos cercos de 1663, 1706, 1711 e 1801 (este último durante a chamada Guerra das Laranjas).

Em 30 de junho de 2012 foi classificada como Património Mundial pela UNESCO.

Características

O castelo medieval

No início da Idade Moderna, o castelo era composto por três cortinas defensivas, conservando as duas mais antigas importantes estruturas do período muçulmano.

Na linha de defesa externa, mais recente, datando do reinado de D. Fernando, reforçada por vinte e dois torreões e por uma barbacã, abriam-se originalmente onze portas - reduzidas a três pelas reformas do século XVII (respectivamente a de Évora, a de Olivença e a de São Vicente). Esta defesa foi parcialmente absorvida pela expansão urbana.

A linha intermediária de defesa também foi comprometida pela expansão urbana. Os seus muros eram rasgados por quatro portas: a da Ferrada, a Porta Nova ou da Encarnação, a de Santiago e a do Bispo.

A linha de defesa interna ergue-se na cota mais elevada do terreno, a nordeste, tendo chegado até nós duas das suas antigas portas: a da Alcáçova e a do Miradeiro. É constituída pelo castelo do reinado de D. Sancho II, remodelado por D. Dinis e reforçado por D. João II e por D. Manuel I. Ladeado por duas torres quadrangulares, a mais alta correspondendo à de menagem, o Portão de Armas é protegido por um balcão sustentado por mísulas, onde se exibe o brasão de armas de D. João II. Em suas muralhas ameadas inscreve-se uma torre hexagonal irregular, rasgada por aberturas de troneiras e coberta por cúpula semi-esférica. O alto desta torre é percorrido por um adarve protegido por parapeito com largos merlões. Na praça de armas os diversos fragmentos arquitetônicos, denunciam as diferentes épocas construtivas e estilísticas.

A Praça-forte
Louvada pelos entendidos como a mais poderosa praça-forte de Portugal, considerada inexpugnável, as obras da sua cintura exterior ficaram a cargo do tenente-general Rui Correia Lucas, tendo colaborado no projeto os nomes de notáveis como Soremans e do jesuíta neerlandês João Cosmander, este último responsável pelo projeto de uma grandiosa cisterna com 2.200 m³.

Com planta poligonal estrelada, a defesa desenvolvia-se em doze frentes, composta por sete baluartes, três meio-baluartes, dois redondos, oito meias-luas e três contra-guardas, além de cortinas monumentais. No interior, em área urbana de marcadas características militares, abrigavam-se os quartéis e casernas casamatadas para as tropas, depósitos e paióis.



Praça-forte de Elvas

O Forte de Santa Luzia localiza-se no Alentejo, na cidade e sede de concelho de Elvas, distrito de Portalegre, em Portugal.

Juntamente com o Forte da Piedade, o Forte de São Francisco, o Forte de São Mamede e o Forte de São Pedro, fazia parte da defesa da Praça-Forte de Elvas e integra o complexo Cidade – Quartel Fronteiriça de Elvas e as suas Fortificações – classificado desde o dia 30 de Junho de 2012 como Património Mundial da Humanidade pela UNESCO.

Repetidamente assediado durante a Guerra da Restauração, foi durante o cerco à cidade de Elvas, liderado pelo comandante espanhol D. Luís de Haro, em 1658, que se destacou pela sua resistência heroica. O cerco de 1658 precedeu a Batalha das Linhas de Elvas a 14 de Janeiro de 1659.

Em 2014, o Forte de Santa Luzia foi integrado num novo projeto do Ministério da Defesa Nacional, criado com o apoio do Turismo de Portugal, chamado Turismo Militar, que apresenta roteiros históricos baseados em heróis portugueses.

História

Remonta ao contexto da Guerra da Restauração da independência portuguesa, quando foi primitivamente riscado por Matias de Albuquerque (1641). No mesmo ano, seria redesenhado na traça de Sebastião Frias, quando recebeu o formato de um polígono estrelado. O genovês Hieronimo Rozzeti traçou-lhe novo projeto (1642), o que causou atritos que culminaram com a discórdia do engenheiro militar francês Charles Lassart. Finalmente foi concluído e inaugurado em 1648.

Juntamente com as demais fortificações do seu sistema defensivo, durante a batalha das Linhas de Elvas resistiu com sucesso ao pesado sítio que lhe foi imposto, de 22 de outubro de 1658 a 14 de janeiro de 1659, pelo exército espanhol sob o comando de D. Luís de Haro.