Cathedral of Faro

On this page: 

I . History

II . Description

III . Saint Mary of Faro

 

I . HISTORY

The mother church of Saint Mary of Faro was built after the city was taken from the Moors by D. Afonso III, in 1249. The church, possibly built over the remnants of a former mosque – which, in turn, is thought to have been built on a Visigoth Christian temple -, was given to the Order of Santiago.

It was enlarged under the reign of D. Dinis (1261-1325), with additional works taking place during the 15th century. The medieval traces, such as the turret and the cross chapels go back to this time.

In 1577, the Church of Saint Mary became the seat of the diocese of Algarve.

On the 25th July 1596, the English troops led by the Earl of Essex plundered and set fire to the city of Faro, inflicting great damage to the Cathedral; the valuable episcopal library was taken to England. Its reconstruction included the rebuilding of the chancel, as well as the construction of the chapel of the Blessed Sacrament and some of the side chapels; the medieval chapels of the transept were tiled. The building of the cloister– later turned into a cemetery for the poor - was also started; and both the chapel of Saint Michael and the chapel of Bones were erected.

A new period of works started in the 18th century, with the construction of particularly remarkable chapels – those of the True Cross and Saint Blaise -, and the placement of the Great Organ in the upper choir.

The earthquakes of 1722 and 1755 caused great damage, and other medieval traces were lost for good. The first restoration works encompassed the enlargement of the Terreiro da Sé [the Cathedral’s yard], and the famous Italian architect Francisco Fabri (1761-1817) was later invited by the Bishop D. Francisco Gomes de Avelar (1789-1816) to oversee the works.

The works in the late 20th and the early 21st century, including the restoration of the bell tower and the refurbishment of the old cloister, unearthed a medieval grave in the chapel of Saint Dominic. Interventions were also carried out in the main chapel, in line with the latest liturgical practices, and the Museum of Sacred Art was installed.

On January 21, 2024, part of the relics of Saint Vincent, common patron saint of the two dioceses, were solemnly transferred from Lisbon to the Cathedral of Faro.

II . DESCRIPTION

The Cathedral of Faro sits in the oldest area of the medieval city – the historic centre of Vila-a-dentro. The large staircase and the spacious cobblestone yard where the statute of D. Francisco Gomes Avelar stands provide the surrounding setting for the monument.

On the main façade highlight goes to the stone-built turret (1), with its pointedarched entrance, fitted with wrought iron doors and decorated with the coat of arms of D. António Mendes Bello (1885-1908). The bell tower shows a clock at the centre and the terrace commands an excellent view over the historic centre and Ria Formosa.

The inside of the temple is accessed through a ribbed-vaulted narthex, with archivolt portal and decorated capitals. The soffit of the arch is decorated with grotesque motifs in tempera on stone. The baptismal chapel (2) rebuilt in 1708, is tiled.

At the chapel of Lord Jesus of the Poor (3), founded by canon Gaspar da Mota in the late 16th century, there is the image of Our Lady of Fátima. Lord Crucified stands on a throne and under the altar sits the 18th century image of the Lord Lying Dead. Also from the 18th century is the altarpiece, gilded by an artist from Tavira, Francisco Correia da Silva (1751), with a panel showing a heart and crown of thorns.

At the chapel of Our Lady of the Rosary (4), the gate is decorated with the coat of arms of D. Simão da Gama (1685-1703), the chapel’s sponsor and the protector of the Brotherhood of Our Lady of the Rosary, with which the chapel was once associated. The small dome gives it singular lighting. At the entrance there are two freestanding chandeliers – a reference to the former brotherhood joined by African natives ever since the 16th century.

The chapel is entirely covered in 18th century tiles with Marian patterns. The side panels, thought to be the work of António Pereira Ravasco (died 1712), depict the Flight into Egypt and the Return of the Holy Family. Angels with symbols of the litany lie at the base of, and hang from, the vault.

The altarpiece, in gilded wood over crimson background, is by Master Francisco de Ataíde (1724), and shows the 17th century image of Our Lady of the Rosary on a pyramid-shaped throne; a representation of the Sacred Heart of Jesus can be seen in the attic, where it was placed at a later date.

At the chapel of Souls (5), holding multiple references to this altar’s invocation, the gilded wood entrance by Francisco de Ataíde includes a central panel with a skull and two tibiae. The soffit of the arch shows a singular representation of royal crowns, a tiara and a miter. On the gilded wooded altarpiece by Manuel Martins (1667-1742), a sculpture of Christ Crucified takes pride of place, flanked by Angels; on the side sections, one finds the sculptures of Archangel Saint Michael and the Guardian Angel; a panel showing the Five Wounds closes the set.

The chapel of Our Lady of the Conception (6), one of the gothic chapels, is topped by an ornamented vault and a double window. The 15th century sculpture of Our Lady of the Conception is considered one of the oldest in Faro. The Portuguese coat of arms – a reference to the Patron of the Portuguese nation – decorates the gilded wooded altar, which was placed at a later date. The walls are fully tiled with late 17th century polychromatic tiles by master Diogo Mendes (1695).

The chapel of the Blessed Sacrament (7), started by D. Francisco Barreto II (1671-1679), is a remarkable chapel devoted to the celebration of the Eucharist. The altarpiece includes a monumental Eucharistic throne, with gilded wooded rostrum by Gabriel Domingues da Costa and Matias de Oliva (1679). On the side elevations are the sculptures of the Evangelists, and two Angels by the altar.

This chapel also houses a set of paintings from the 17th century, the majority of which were not part of the original layout: The Miracle of Bilocation of Saint Anthony and the Apparition of the Virgin and the Child to Saint Bonaventure, by an unknown author, copies according to Andrea Sacchi (1599-1661); The Resurrection of Christ, possibly by a local artist; and The Last Supper and Saint Francis receiving the Stigmata by Marcos da Cruz (around 1610-1683).

The vaulted ceiling lost many of its original characteristics in the 20th century restoration works and is painted with Eucharistic symbols. The gilded wooded arch is topped by the coat of arms of D. José de Meneses (1680-1685), the bishop in office when the chapel was finished.

The triumphal arch bears the coat of arms of D. Francisco Barreto I (1636-1649), who ordered the rebuilding of the main chapel, and the date on which the chapel was finished - 1640.

On the sides, engraved stones bear reference to the solemn ordination of D. Marcelino Franco as Bishop of the Algarve on the 18th July 1920, and to the renewed dedication of the Cathedral of Faro on the 19th July 1943. The present altar and the presbytery ambo were designed by Emília Nadal (born 1938), within the context of the liturgical reform.

At the main chapel (8) the sculpture of Our Lady of the Assumption – the patron of the Cathedral – takes pride of place, flanked by Saint Peter and Saint Paul. The tondo shows a representation of the Crowning of Our Lady by the Holy Trinity, presumably made at a Lisbon workshop.

Highlight goes to the 17th century polychromatic tiles on the side sections; the choir stalls – possibly adapted to this space -, with the representation of the Apostles, a work by the workshop of royal painter Bento Coelho da Silveira (1704); and the more recent episcopal cathedra designed by Emília Nadal.

The construction of the chapel of Saint Francis of Paula (9) – former chapel of the True Cross – was ordered by D. António Pereira da Silva (1704-1715), and was supposedly authored by João Baptista Severino (died 1724). In 1782, it was adapted for the worship of Saint Francis of Paula. At the centre, the arch displays the coat of arms of Bishop D. António Pereira da Silva.

One can find in the chapel a remarkable set of shrine niches.

The altarpiece is dominated by a sculpture of Saint Francis of Paula, and the set is limited by spiral columns with exotic decorative details.

The 18th century tile panels, on the side walls, represent scenes from the life of Saint Francis of Paula, particularly the famous Passage of the Strait of Messina, with the motto of the Order of the Minims - CHARITAS. On the left hand-side, highlight goes to the marble cenotaph with the coat of arms of D. António Pereira da Silva, allegedly the work of royal architect João Antunes (1643-1712).

The medieval chapel of Saint Dominic (10) has a ribbed vault and a coat of arms at the top, together with figureheads among foliage at the arch capitals.

The 15th century gothic grave, by Rui Valente, Cavaleiro del Rei [The King’s knight], is also the first known plaster tomb monument in Portugal. The tombstone of canon Domingos Pereira da Silva (died 1703), the man who created this chapel, can be found on the floor, thus replacing the former invocation of Saint George.

The chapel of Saint Blaise (11) presents a baroque altarpiece (1726-1750), ordered by the Brotherhood, and thought to have been made at the workshop of Tomé da Costa and Francisco Xavier Guedelha (1748), with the saint Bishop in the central niche and Saint Barbara and Saint Albert on the sides. The frontispiece displays the attribute of Saint Blaise – Crossed Candles – and a panel with two inflamed hearts – Sacred Hearts of Jesus and Mary -, possibly referring to this widely spread devotion at the time.

The magnificent chapel of Our Lady of Joy (12) was erected by D. José da Gama, archdeacon of Lagos, and finished in 1751. The devotion is associated with the Blessed Virgin’s joy for Christ’s Resurrection and with the sorrows of Passion; being a very old devotion in Portugal, it expanded especially in the 17th and 18th centuries – the time when the chapel was built.

It is totally carved in wood, with great profusion of angels. On the pulpit there is the image of Our Lady of Joy, with a majestic octagonal baldachin, held by angel atlantes. The vault is decorated in plaster, with panels depicting the Evangelists. The altar frontal is painted with symbols from the Passion – The Veil of Veronica, the Cross, the Crown of Thorns.

The arch, also in gilded wood, stands on marble inlaid plinths with Marian symbols; the attic shows a painting of Our Lady of Sorrows, with a monogram and a crown. The set is topped by angels and symbols from the Passion and the Resurrection.

Inside the church, the following are worth a note: the marble pulpit, with carved canopy; the small 18th century organ; the 17th century tile ashlars covering the side walls; and two canvases representing Saint Thomas of Aquin by Liborio Guerini (1790), and The martyrdom of Saint Vincent, presumably also a piece by Guerini.

In the high choir one can find the pulpit with the beautiful Great Organ, dated 18th century, a piece of work attributed to master Johann Heinrich Hulenkampf (1716), disciple of the famous German organ maker Arp Schnitger (1648-1719), rebuilt in 1767 by Pascoal Caetano Oldovini (around 1720-1785); it was fully painted with chinoiserie motifs and gilded wood decorated presenting a number of music playing angels, by master Francisco Correia da Silva (1751).

Two late 18th century large canvases by Liborio Guerini depict Saint Paul preaching in Athens and the Death of Ananias.

In the vestry (13) a remarkable altarpiece dated late 16th century or early 17th century is to be found, with a sculpture of Christ Crucified; painted panels around the central niche show scenes from the Life and Passion of Christ and scenes from the Life of Our Lady on the side doors. Other important elements include the large chest, by João Dias (1642), and the 17th century polychromatic tiles on the side walls.

The cloister (14), erected while Bishop D. Simão da Gama was in office, was left unfinished. To be noted the prelate’s coat of arms and the inscription - ANNO [YEAR] 1697 -, on the old Chapter building; worth a note are also the buttresses of different heights with zoomorphic gargoyles of the medieval chapel.

The chapel of Saint Michael or the chapel of Souls (15), is nowadays used as an exhibition area; the panel on the façade bears a representation of the Purgatory and a number of works of sacred art are on display inside, particularly a remarkable sculpture of the Archangel Saint Michael carved in gilded and polychromatic wood and a canvas from late 17th century, Adoration of the Shepherds, by an unknown author.

The chapel of Bones (16), built in the mid17th century, holds an altarpiece with the image of Saint Mary in the central niche, and its walls are singularly covered with human bones.

The Cathedral’s Museum (17) is set in the old Chapter building. The original painting can still be seen on the ceiling of one of the rooms. A significant number of scared art objects are on display.

III . SAINT MARY OF FARO

The territory that is now known as Portugal may have been Christianised under the influence of Northern African Christian communities. The Roman city of Ossonoba was located within the walled area of Vila-a-dentro in modern day Faro, and references can be found to the diocese of Ossonoba during the Roman and Visigoth times, between the 3rd and the 7th centuries.

During the Muslim period, Saint Mary of Ossonoba gradually turned into Saint Mary alHarun, one of the main Moorish settlements and a pilgrimage centre for Mozarab Christians. The image of Our Lady placed on the Town walls goes back to this time, and is associated with one of the oldest traditions of devotion to Saint Mary in the city of Faro. References to it can be found in the famous Cantigas [Songs] of Afonso X the Wise (1221-1284).

As the Algarve was conquered by the Christians, the seat of the Diocese was replaced in Silves. In 1577, it was returned to the original church of Saint Mary of Ossonoba – then already named Saint Mary of Faro -, the historic development centre of the important city of the kingdom of Algarve.

The Cathedral of Faro is dedicated to Our Lady of the Assumption, and Festivities take place on the 15th August.

 

REFERENCES

• AZEVEDO, Carlos, (dir.) Dicionário da História Religiosa de Portugal, Lisboa, Ed. Círculo de Leitores, 2000
• LAMEIRA, Francisco Ildefonso da Claudina, A Talha no Algarve durante o Antigo Regime, Faro, Câmara Municipal de Faro, 2000
• Revista Monumentos, n.º 24, Março, DGEMN, 2006