Cathedral of Leiria (Portugal)

On this page

I . History

II . Description

III . Our Lady of the Assumption

IV . Diocese of Leiria-Fátima

I . HISTORY

It was Brother Brás de Barros, first bishop in the diocese of Leiria, who, in 1546, urged King D. João III to have a cathedral built in Leiria, where worshippers could attend liturgical offices in all dignity.

Building began in 1559, designed by royal architect Afonso Álvares (died 1580) and the cathedral was finally consecrated in 1574 under the invocation of Our Lady of the Assumption. The bishop at the time was Brother Gaspar do Casal (1557-1579), who greatly contributed to its construction. Later, many other bishops endeavoured to make valuable additions to the cathedral: D. Pedro de Castilho (1583-1604) ordered the construction of the large churchyard, the staircase and the cloister; bishop D. Martim Afonso Mexia (1605-1615) saw the completion of the altarpieces in the chancel and in the chapel of the Blessed; the choir stalls for the canons were commissioned by Brother António de Santa Maria (1616-1623); and a new organ built by the master organ-builder José Gomes was inaugurated at the time of D. Álvaro de Abranches e Noronha (1694-1746).

The 1755 earthquake caused severe damage to the building, particularly to the main façade. The restoration works were started in 1756 by Brother João de Nossa Senhora da Porta (1746-1760), and carried on by his successor, Brother Miguel de Bulhões e Sousa (1761-1779). The main façade lost its original layout and was restyled in a way that was fashionable at the time. Inside, the rostrums for the two organs were installed in the chancel and the new vestry was built. The Bell Tower was erected Northwest of the Cathedral.

The fire caused by the French Invasions (1808-1811) partially destroyed the inside of the church, the chancel more severely than the rest. Its restoration was one of the works that earned D. Manuel de Aguiar (1790-1815) his remarkable reputation.

In 1907, in a period during which the diocese was still extinct, the mortal remains of several bishops were brought inside the temple, and their respective tombstones placed under the guidance of Ernesto Korrodi (1870-1944). Later, in 1969, the mortal remains of other bishops of the diocese were also transferred to the Cathedral.

The entire set of the Cathedral of Leiria, including the Churchyard, the Cloister, the Bell Tower and the Bell-ringer’s House, was classified as National Monument in 2014.

II . DESCRIPTION

The Cathedral of Leiria, built between the Castle and the city’s downtown, offers a sober façade, with its spacious yard, staircase and lioz marble balustrade – one of the walls bears indication of the construction date (1618). The imposing main façade, restored in 1756, features three sections divided by strong pilasters, where the doors and the large framed windows take pride of place.

The inside is surprisingly monumental, harmonious in proportions, light and sober. Its three large naves, all built to the same height, give it a particular spatiality. The crossshaped vaults, supported by solid pillars, are closed with the inscription of different dates – 1570, 1571, 1572, 1766…- most probably the years when they were either built or restored.

At the entrance, highlight goes to the vestibule in carved wood, decorated with vegetal motives. On the left hand side, the monolithic limestone baptismal font commissioned by D. Pedro de Castilho dominates the ribbed-vault topped Baptistery. Two original holy water fonts, also acquired by D. Pedro de Castilho in 1603, are placed near the pillars of the first section.

On the top left of the transept there is the Altar of Our Lady of the Conception. The image of Our Lady in a carved wood baldachin is particularly interesting, as it was the first figure of Our Lady of Fatima shown in Cova da Iria, before the appearance of the images currently associated with the apparitions of Fatima. The altarpiece is flanked by tombstones bearing inscriptions referring to bishops D. João Inácio da Fonseca Manso (1818-1834) and D. Pedro Vieira da Silva (1670-1676) and by the bigger tombstone referring to D. Manuel de Aguiar (1790-1815), on the left wall. On the right side of the altar, there is an image of Saint Joseph with the Child.

On the top right, there is the Altar of the Sacred Heart of Jesus. The image of the Sacred Heart of Jesus has the particular feature of showing the royal crown and the Portuguese coat of arms at the base. At the closure of the altarpiece, highlight goes to the symbol of the Sacred Heart, also over the Portuguese coat of arms. On the side walls there are tombstones with inscriptions referring to bishops D. António Pinheiro (1579-1582), D. Lourenço de Lencastre (1780-1790) and Brother Miguel de Bulhões e Sousa (1761-1779), the latter being a bigger tombstone placed on the right wall.

In the Chapel of the Blessed, highlight goes to the eucharistic throne – of Portuguese tradition -, with gilded wood baldachin. The topping shows a representation of Agnus Dei, also in gilded wood. Worth a note is the painting of the Adoration of the Blessed Sacrament, over the entrance door and topped by an allegory of the Church.

A stone with reference to the reinstatement of the diocese in 1918, by Pope Benedict XV, is on the pillar between the chapel of the Blessed and the chancel.

The angle formed between the North nave and the transept, in the extinct chapel of Saint Benedict, holds the tombstones of illustrious personalities of Leiria – D. Mariana de Sousa de Castelo Branco and Jorge da Silva da Costa de Ataíde and his wife, D. Brites de Sousa Currutelo.

The Chapel of the organ shows a painting of the Resurrection over the entrance door, topped by an allegory of the Holy Cross, a reference to the former invocation of this chapel – Our Lady of Sorrows. This chapel houses the so called Grand Organ of the Cathedral, by the German organbuilder Georges Heintz, inaugurated in 1997.

In the Chancel, highlight goes to the majestic altarpiece thought to be the work of Simão Rodrigues (1560-1629). It is comprised of three levels, with a representation of The Assumption of the Virgin, Patron of the cathedral, in the centre; an 18^th century Cross stands at the lower level, as a replacement for the original panel that represented the Adoration of the Shepherds and was destroyed during the French Invasions; the invocation GLORIA IN EXCELSIS DEO (Glory to God in the highest) remains, possibly a reminiscence of the same representation. On the sides, one can find four niches with sculptures, possibly by Gonçalo Rodrigues, representing the evangelists Saint Mathew and Saint Mark, Saint John and Saint Luke, with their respective attributes. At the top, the tondo holds a representation of the Coronation of Our Lady by the Holy Trinity, flanked by paintings of the Apostles Saint Peter and Saint Paul. At the lower section of the altarpiece there are two medallions representing Christ and the Virgin of Sorrows. The whole early 17^th century set of mannerist carved woodwork, sculpture and painting offers a striking view of monumental beauty and harmony, enhanced by the fact that it remains in its original context.

In this chapel, one can also find the remarkable choir stalls made of pau santo (holy wood) with two rows of seats; the rostrums; and the organs – currently disabled -, with baroque decoration and the coat of arms of Brother Miguel de Bulhões e Sousa.

In the Vestry, lined with polychromatic patterned tiles and covered by a vaulted ceiling with grotesque painting, the large chest in pau santo (holy wood) – commissioned by bishop D. Dinis de Melo e Castro (1627-1636) - stands out, as well as the monumental polychromatic marble water basin. Inscriptions of biblical inspiration stand at the top of the doors.

The Cloister, built in the late 16^th century, is square in shape with galleries covered by coffered vaults. The coat of arms of Brother Miguel de Bulhões e Sousa stands over one of the doors.

The Bell Tower was erected on the top of one of the medieval towers, near one of the former gates of the castle wall – the Door of the Sun. The door that stood next to it was widened and the Bell-ringer’s House was built upon it. The house was used until 1970.

On the top of the bulbshaped turret stands an angel-shaped metallic weather vane, and also the coat of arms of D. Miguel Bulhões e Sousa.

The clock mechanism is of great patrimonial value. The oldest bell bears the date of 1772 and the signature of André Aregos. The biggest bell shows the inscription SENDO Bº DESTA CID. E DE LRª O EXMº E REMº SR. D. MANOEL DE AGUIAR FOI FEITO ESTE SINO E TODO O INSTRUMENTO DESTA TORRE EM 8.ª POR JOÃO CRAVEIRO NO ANO DE 1801. [THIS BELL AND THE WHOLE TOWER MECHANISM WERE BUILT BY JOÃO CRAVEIRO IN 1801, AT THE TIME WHEN THE ILLUSTRIOUS D. MANOEL DE AGUIAR WAS THE BISHOP OF THIS TOWN AND OF LEIRIA]. The famous Bell-ringer’s House stands next to it.

III . OUR LADY OF ASSUMPTION

The Marian legacy in Portugal is a copious one, deeply rooted in folk culture. The Solemnity of the Assumption is one of the oldest festivities in the liturgical calendar. It became particularly important in 1385, when King D. João I ordered that all cathedrals in the kingdom be dedicated to Our Lady of the Assumption, after the Portuguese victory in the Battle of Aljubarrota, on the day before the ceremony.

The dedication of this Cathedral is celebrated on the 13^th July.

IV . DIOCESE OF LEIRIA-FÁTIMA

The former Roman city of Collipo – currently Leiria -, was conquered by the Suevi and the Visigoths, then occupied by Muslims and finally taken by King D. Afonso Henriques in 1135. The King ordered that a castle be built, as well as a church – the first one inside the city walls - dedicated to Santa Maria da Penha, or Santa Maria da Pena. As a result of a royal donation, Leiria was subordinated to the Monastery of Santa Cruz de Coimbra.

The Diocese of Leiria was created by Papal Bull issued by Pope Paul III on the 22^nd May 1545, at the request of King D. João III. The seat of the diocese was the church of Nossa Senhora da Pena and the first bishop appointed was Brother Brás de Barros. On the 13^th July of the same year, Leiria was raised to the category of city, by a royal decree. The chapter was moved to the new cathedral, after it was completed in 1574.

A troubled period in the history of this diocese started with the 19^th century, following Napoleon’s Invasions (1807-1811) which severely affected the region, causing destruction and havoc in all parishes. D. Manuel de Aguiar, one of the most prestigious bishops of Leiria, played an especially relevant role in the reconstruction works. A number of other significant events took place during the same period, such as the civil war, the extinction of the diocese in 1882, and the upheaval caused by the establishment of the Republic.

Further development in the region was particularly driven by the Apparitions of Fatima in 1917. On the 17^th January 1918 the Diocese of Leiria was reinstated by Pope Benedict XV, and D. José Alves Correia da Silva (1920- 1957) was appointed bishop.

A Pope’s letter by Pope John XXIII declared Our Lady of Fatima the Patron of the Diocese of Leiria – together with Saint Augustine. On the 13^th May 1984, a Papal Bull by Pope John Paul II changed the name of the diocese to Leiria-Fatima.

References

• JORGE, Virgolino Ferreira, A Catedral de Leiria. Contexto Histórico-arquitectónico, Catedral de Leiria. Leiria: Diocese de Leiria-Fátima. 2005
• CRISTINO, Luciano Coelho, A Diocese de Leiria-Fátima. Catedral de Leiria. Leiria: Diocese de Leiria-Fátima. 2005
• BRANCO, Ricardo Lucas, O projecto da Catedral de Leiria no tempo da Reforma Católica: As intervenções de Afonso e Baltazar Álvares, Leiria: Diocese de Leiria-Fátima, 2020.