Church of Saint Dominic (Viana do Castelo, Portugal)

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I . History

II . Description

III . Our Lady of Monserrat

IV . Saint Bartholomew of the Martyrs

V . Order of Saint Dominic

I . HISTORY

In 1560, Friar Bartholomew of the Martyrs (1514-1590), the Archbishop of Braga, committed himself to creating a Dominican convent in Viana da Foz do Lima, a wealthy and busy port town at the time. The works started in 1563, based on an initial design attributed to Friar Julião Romero, with the foundation stone for the church of Santa Cruz officially laid on the 22^nd January 1566.

The main chapel was completed in 1571, and worship ceremonies started on the 4^th August, when the Feast of Saint Dominic was then held. The following decades saw the building of the side chapels, sponsored by prestigious local families.

Throughout the entire 18^th century, Viana local citizens and artists from the North of Portugal endeavoured to furnish the church; among their accomplishments are the erection of the bell tower (1707) and the replacement of both the chancel’s altarpiece and the one at the altar of Our Lady of the Rosary.

After the extinction of religious orders in 1834, the convent was the headquarters of several public institutions, which turned it into one of the main town centres. The church became the Parish Church of Our Lady of Monserrat in 1836.

In 1910, the church of Santa Cruz – also known as the church of Saint Dominic – was classified as a National Monument, and a Decree dated 1964 made it a Special Protection Area.

After a large part of the building had been destroyed by a fire in June 1938, in 1977, the Diocesan Curia Central Services set office in the former and refurbished convent.

The church of Saint Dominic, sought by many to express their devotion to Saint Bartholomew of the Martyrs, is a repository of the living memories of fishermen, seafarers and merchants, and currently one of the most important cultural and religious centres in the city of Viana do Castelo.

II . DESCRIPTION

The church of Saint Dominic in Viana do Castelo is one of the most imposing temples in the city.

The original façade, by master João Lopes-o-Moço (1576), contrasts with the simplicity of the whole set. In the middle, Our Lady of the Rosary is flanked by Saint Dominic and Saint Thomas Aquinas. The Four Evangelists surround the oval-shaped eye-window and the coat of arms of Saint Bartholomew of the Martyrs takes pride of place in the pediment. On either side of the gate stand the images of Saint Peter and Saint Paul.

The 18^th-century bell tower rises on the left-hand side and the large cylindrical turrets, once used as landmarks for coastal navigation, stand out at the top.

In the former convent, fitted with robust buttresses on the sides, highlight goes to the window of Saint Bartholomew’s cell, decorated with coat of arms and inscription.

The inside of the church is spacious and richly ornamented with gilded wood carvings. The same decoration can be seen in the chapels leading off to the sides.

On the left-hand side, one can find the chapel of Our Lady of the Seas, commissioned by Gaspar Pinto Correia in 1613 and acquired by Francisco Martins Viana, in 1620, according to the inscription. The chapel features a remarkable altarpiece, painted and gilded by master Constantino Leitão (1621), with an image of Our Lady of the Seas, fervorously worshipped by the people from Ribeira. The side panels depict unusual scenes from the Old Testament – Transport of the Ark of the Covenant and Explorers of Canaan -, and the predella features low relieves representing vessels entering the Viana Harbour; Saint Catherine of Siena and Saint Catherine of Alexandria – both long worshipped in Viana – are shown on the plinths. The pediment represents The Coronation of the Virgin. The baptismal font, on the left, was sourced from the former church of Monserrate. The area also houses the image of Saint Peter with his traditional attributes – the key and the fishing net.

The chapel of Our Lady of Solitude, originally dedicated to Saint Hyacinth, was instituted in 1618, by João da Guarda Maciel and his wife Maria Fernandes Guedes. The altarpiece shows the images of the Virgin, the Lord of the Green Cane and Saint Catherine of Siena, and depicts popular scenes from the life of Our Lady – The Annunciation, The Visitation and The Dormition. At the base, two plaques read respectively: Thy own soul a sword shall pierce and For your ruin is as vast as the sea, two Latin inscriptions alluding to the Sorrowful Virgin.

A remarkable sculpture of Saint Lawrence is also placed in the area.

The chapel of Our Lord of the Stations of the Cross, instituted by Rui de Sá Sottomayor (1611), features a late 17^th-century altarpiece representing Jesus shouldering the Cross, and paintings with scenes from the Passion of Christ on the sides: The Agony of Our Lord in the Garden and The Calvary.

On the right-hand side of the nave, the chapel of Our Lady of the Conception, restored in the second half of the 19^th century, holds at the centre an image of the Patron, and Saint Rose of Lima and Saint Joan Princess on the sides. The painting on the pediment represents Saint Peter.

The chapel of Our Lady of Fatima, initially dedicated to Saint Francis, was instituted in 1608 by Francisco da Rocha Páris and his wife Maria Fernandes Peixoto, and acquired in 1821 by the Viana-born trader Joaquim dos Santos Lomba. The symbol of the Franciscan order can still be seen on the pediment.

The side walls display the coat arms of the Rocha Páris family, the inscription marking the institution of the chapel, and two inscriptions with reference to Joaquim dos Santos Lomba.

The chapel of the Sacred Heart of Jesus is furnished with an outstanding gilded wood altarpiece, sourced from the church of Our Lady of Monserrat. At the centre, the altarpiece displays the images of the Sacred Heart and Saint Margaret Mary Alacoque. On the sides there are images of Our Lady with the Child and Saint Dominic. The side walls display the Promises of the Sacred Heart of Jesus and the Requests of the Immaculate Heart of Mary made to the shepherd children in Fatima.

At the transept, there is the admirable chapel of Our Lady of the Rosary, which, along with the Brotherhood of the same name, was instituted by Friar Cristóvão de Brito in 1615. The magnificent gilded wood altarpiece, by José Álvares de Araújo (1762) based on a design by André Soares (1720-1769), provides the framework for Our Lady of the Rosary (dated 17^th century), flanked by paintings representing The Annunciation and The Visitation; The Assumption is depicted on the upper section. The tabernacle is completely integrated in the altarpiece design, while the altar enhances the sumptuosity of the set.

The chapel of Saint Joseph – initially the chapel of the Magi -, was acquired by Gaspar Caminha Rego, a local Viana trader, in 1650, as per the inscription and the coat of arms at the gate. Saint Joseph with the Child is the central element of the altarpiece; the pediment depicts The Star of Bethlehem – possibly a trace of the primary invocation. It is flanked by the images of the Divino Reizinho and Nossa Senhora Menina.

On the left-hand side, stand two 17^th-century gilded wood altarpieces, brought from the old church of Monserrate: the altar of Our Lady of Monserrat, Patron of the Parish, with the honourable and traditional image of the Virgin holding Jesus and a representation of Saint Anthony in the pediment; and the altar of Saint Theresa of the Child Jesus with a representation of Saint John of the Cross (?).

The remarkable altar of Our Lady of Sorrows – or Good Jesus -, was built by Baltazar Jácome do Lago in 1605. Its highlights are the images of Christ Crucified and Our Lady of Sorrows; the pediment offers the image of Christ topped by the pelican, in a panel supported by two Angels. The tomb chest of Baltazar Jácome do Lago is placed against the side wall.

The gilded wood altar table in the transept is decorated with a low-relief representation of The Last Supper; and a recent statute of Saint Bartholomew of the Martyrs is placed on the side.

In the chancel, the magnificent gilded wood altarpiece is authored by Ambrósio Coelho (1727). The tabernacle bears a representation of the Holy Cross intertwined with roses, crowned, and surrounded by angels. Both the columns and the arches are profusely decorated and integrate the images of Saint Dominic and Saint Francis on the sides. Also worth a note are the singular caryatides at the base of the throne and Christ Resurrected at the top, also surrounded by angels.

The tomb of Saint Bartholomew of the Martyrs, next to the high altar, was commissioned in 1607 by D. Jorge de Ataíde, the Bishop of Viseu. The tomb displays an epitaph, the portrait of the Holy Archbishop, by António Maciel (1609), and the coat of arms and motto in the pediment.

The vault shows a representation of Virgin Mary handing the Rosary to Saint Dominic. The patterned tile lined side walls include two monochromatic panels depicting The Institution of the Holy Eucharist and The Procession of Corpus Christi. Other highlights are the extraordinary baroque organ and the old choir stalls once occupied by Dominican Friars.

The upper choir, where the coat of arms of Friar Bartholomew of the Martyrs hangs on the balustrade, houses the organ. Dating back to 1818, it is known to have been handled by the famous organ-builder, Augusto Joaquim Claro (1865-1917).

In the Vestry, a large chest is placed along the side wall. At the centre lies a gilded wood altarpiece with Christ Crucified and Our Lady of Sorrows, flanked by paintings representing the Virgin and Saint John the Evangelist; images of Saint Dominic and Saint Vincent Ferrer, and top panel with Christ crowned with thorns.

The Exhibition Room shows a Religious Art collection related with Saint Bartholomew of the Martyrs, who passed away in this convent. Another highlight is the altarpiece displaying The Adoration of the Shepherds, Saint Francis and Santa Genebra.

Tombstones with coats of arms and the stonework image of Our Lady of Monserrat are displayed in the cloister.

Within the area of the convent, the cell of Saint Bartholomew of the Martyrs can still be visited, although it has been now turned into a chapel. The triptych authored by António Maciel (c.1582), represents the three major devotions of the Holy Archbishop – The Holy Cross, Apostle Saint Bartholomew and Saint Dominic.

III . OUR LADY OF MONSERRAT

This invocation originated in Catalonia, in the region of the sawn hills – Mont Serrat. Tradition has it that the image of the Virgin was found here in the 9^th century, with the consequent spread of this devotion throughout Spain and the bordering regions. From Portugal it was later taken to territories as distant as Brazil and the Orient.

The development and prosperity of Vila de Viana da Foz do Lima – a region closely tied with Catalonia -, during the 15^th and the 16^th centuries also promoted the devotion to the Virgin of Monserrat. In 1590, merchants from Viana commissioned an image of Our Lady similar to the one worshipped in Catalonia, and created a Brotherhood named after it. In 1601, the members of the brotherhood set out to build their own temple. In 1621, Archbishop D. Afonso Furtado de Mendonça (1561-1630) made it the seat of the new parish, which included Ribeira and the area where the Convent of Santa Cruz had been built. It was D. José de Menezes (1692-1696) who enthroned the image of Our Lady of Monserrat in the new altarpiece – currently in the church of Saint Dominic.

In 1836, the Prefect endorsed the transfer of the seat of the Parish of Monserrat to the church of the Dominican convent, extinct by then. The old church was demolished in 1916.

Devotion to the Lady of Monserrat has been kept alive in the city of Viana do Castelo, particularly associated with sea festivities.

In the Portuguese iconography, the Virgin of Monserrat is represented on a throne holding Jesus in her left arm, together with two angels sawing the hill – a reference to the Catalan origin of this invocation.

The liturgical feast is celebrated in January.

IV . SAINT BARTHOLOMEW OF THE MARTYRS

Bartolomeu Fernandes was born in Lisbon in 1514. In 1528, he joined the Order of the (Dominican) Preachers, and adopted the name of Martyrs, in a tribute to the parish where he had been baptised.

In 1559, he was consecrated Primate Archbishop of Braga, under the motto Burning and shining Do not conform yourselves to the standards of this world. Between 1561 and 1563, he actively participated in the Council of Trent. Afterwards, he committed himself to carry out the Council of Trent’s approved reforms and to provide spiritual and material assistance to the faithful of the vast diocese. Being an extraordinary figure of culture and spirituality, Bartholomew of the Martyrs played an especially significant role in providing clergymen with training and guidance.

After resigning as Archbishop in 1582, he withdrew to the Dominican convent of Santa Cruz, which he had founded in Viana do Castelo. Viana locals, and most particularly seafarers, called him the Holy Archbishop, Father of the Poor and the Ill.

When he passed away, on the 16^th July 1590, he was commonly known as a saint. He was buried in the chancel of the church of his beloved convent in Viana do Castelo. The Canonization Decree was issued by Pope Francis on the 5^th July 2019.

Iconography represents Saint Bartholomew wearing the Dominican habit, with the archdiocesan cross, the crucifix, the miter and the crosier.

The liturgical feast is celebrated on the 18^th July.

V . ORDER OF SAINT DOMINIC

The Order of the Preachers - Ordo Praedicatorum -, was founded by Saint Dominic of Guzmán in 1216, with the mission of spreading the Word of God around the world. The first Dominican convent in Portugal was founded in 1218, and 1418 saw the creation of the Portuguese Dominican Province.

Dominicans stood out in theological studies, namely with the prominent figure of Saint Thomas Aquinas. During the 15^th and 16^th centuries, The Dominican Order was particularly associated with university studies in Portugal and was involved in the Portuguese expansion in Africa and the vast Orient. Brotherhoods of the Rosary, a devotion in which Saint Dominic took a special interest, were instituted in almost every location.

Following the government decree of 1834, all convents in Portugal were extinguished and the Dominican Order wasn’t restored until early 20^th century.

Renowned figures highly represented in the church of Viana do Castelo can be found among the Dominicans, namely: Saint Dominic, Saint Thomas Aquinas, Saint Gonçalo of Amarante, Saint Vincent Ferrer, Saint Catherine of Siena, Saint Joan Princess, Santa Rose of Lima and, most particularly, Saint Bartholomew of the Martyrs.

References

• CAMPOS, Leandro Ramos, Estudo Monográfico de Monumentos do Centro Histórico de Viana do Castelo, Faculdade de Letras, Universidade do Porto, 2018
• SOUSA, Fr. Luís de, Vida de Dom Frei Bartolomeu dos Mártires, Liv. Sá da Costa, Lisboa, 1946.
• CARDONA, Paula Cristina Machado, Confrarias em Viana do Castelo. A encomenda artística dos séculos XVI a XIX, Edições Afrontamento, 2012
• ROLO, Pe. Fr. Raúl de Almeida (Coordenação), Frei Bartolomeu dos Mártires (1514-1590), Biblioteca Nacional, 1991