The Church and Convent of Nossa Senhora da Graça, Lisbon

On this page: 

I . History

II . Description

III . The tile panels of the chapter house

IV . Governors of India at Graça Church

V . The order of Saint Augustine

VI . Our Lady of Grace

VII . The Stations of Our Lord (O Senhor dos Passos)

 

I . HISTORY

The Nossa Senhora da Graça convent in Lisbon was the main house of the Portuguese Augustinian order. Enjoying great prestige in the city and nationwide, it was here that a large number of religious figures — many of whom stood out for their holiness or culture — were educated and then set sail for the countries where their missions beckoned, namely the East.

The building’s origin dates back to the conquest of Lisbon from the Moors by King Afonso Henriques when some Augustinian hermits founded a modest convent in Olarias, an isolated spot at that time, under the invocation of St. Gens.

In 1243, they built another building at the top of the hill and in 1291 they erected in the hamlet of Almofala a new convent devoted to Saint Augustine and consecrated to Our Lady of Grace in 1305.

The church and convent were rebuilt in 1556 on the initiative of the Vicar-General, Friar Luís de Montoya (1497-1569), and they formed one of the most beautiful and richest building complexes in the country; the altarpiece, a precious work of art, included the renowned tabernacle that the King of Ormuz had offered the Archbishop of Goa, Friar Aleixo de Menezes.

In the mid-18th century the convent and the church underwent work, including the Baroque work on the sacristy and the current bell tower.

The earthquake of 1755 had a devastating effect on the whole building, bringing about its partial collapse; there only remained some vaulted rooms, the bell tower and part of the convent tower. The church started to be rebuilt in 1765, the works being conducted by Caetano Tomás de Sousa (1700-1766) and Manuel Caetano de Sousa (1742-1802).

In 1834, with the extinction of the religious orders, the convent was disbanded and occupied by the military. In 1835 the temple became a parish church, annexing the extinct parishes of Santo André and Santa Marina.

Between 1895 and 1905 the construction of the church was completed in line with the Project of Architect Caetano de Sousa and it was to be officially reopened on July 18th 1905.

In the second quarter of the 20th century major restoration work was carried out on this beautiful complex of monuments which houses one of the most valuable treasures of our religious, artistic and cultural heritage.

II . DESCRIPTION

The church of Nossa Senhora da Graça, built on the site of one the most breath-taking vantage points in Lisbon, constituted, along with the convent, a magnificent complex of monuments which overlooked the city and the Tagus. It is west-facing with the former convent outbuildings annexed to the north.

The main façade of the church (1) boasts a bas-relief of Saint Augustine, crowned by a niche which accommodated an image of Nossa Senhora da Graça.

Adjoining the church, the façade of the gate to the former convent, dating back to the first construction.

The bell tower (2), constructed over the gate and dating back to before the earthquake, is the work of Manuel da Costa Negreiros (1701-1750).

The church’s interior is spacious and well-lit, endowed with a vaulted ceiling with depictions of the first five invocations of the Hail Mary; in the chancel, the emblem of Saint Augustine, a painting by João Vaz (1895-1931) and Elói do Amaral (1839-1927).

On the left, there are two adjoin private chapels (3) which are all that remains of the building pre-1556. At the entrance there lies the funerary chest bearing the coat-of-arms of Gonçalo Lourenço Gomides, the great grandfather of Afonso de Albuquerque, with an inscription on the frontlet. Framed by a Manueline arcosolium are the tombs of Rui Gomes de Alvarenga and Melícia de Melo, the parents of Lopo Soares de Albergaria, with a coat-of-arms and epigraphed tombstone; on the wall there is an inscription alluding to the institution of a chapel by Lopo Soares de Albergaria for his wife, Joana de Albuquerque. Here too you will find the tombstone of Pedro de Noronha, the Marquis of Angeja, bearing an extensive inscription. The coat-of-arms of Lopo Soares, the founder of the chapel, is to be found in the archway of the second chapel as well as in the Manueline vault. Also worthy of mention is the former sacristy wash-stand with marble inlays and a painting of Saint Mary Magdalene by Francisco Venegas (1525-1594).

The side chapels (4) are bedecked in golden and polychrome woodcut.

On the left, the chapel of Nossa Senhora do Rosário ou dos Pretos Cativos (Our Lady of the Rosary or of the Captive Blacks), a place of particular devotion at the time of the missionary expeditions to the East; here there are images of Saint Iphigenia, Saint Elesbaan, Saint Anthony of Notto and Saint Benedict, as well as the archangels Saint Raphael and Saint Michael; the Calvary chapel has the crucifix of the Deeply Devoted Senhor Jesus do Penedo, one of the few relics remaining from the demolished church of São Tomé. There follow the chapel of the Sacred Heart of Jesus and the chapel of the Blessed Sacrament, decorated with Eucharistic motifs.

On the right-hand side are the chapels of Saint Tomas de Villanova and Saint Gonçalo de Lagos, the later bearing a caravel at the front, alluding to its patron saint.

The chapel of Saint Rita of Cassia, previously of the Archangel Saint Raphael, still bears traces from the 16th century: on the sides, there is a cycle of bas-reliefs with scenes from the Old Testament by the sculptor Gonçalo Rodrigues (c. 1600) and two paintings recounting the History of Tobias and the Archangel Saint Raphael, attributed to the workshop of Diogo Teixeira (c. 1540 - 1612). On the ceiling there are six paintings on wood of the Allegories of the Virtues, from the workshop of Francisco Venegas (c. 1525 – 1594). The altar-piece of the Death of Saint Rita is from a later date. The last chapel, dedicated to Our Lady of the Conception, is a harmonious set done out in golden woodcut and decorated with Marian symbols.

The transept (5) boasts the emblem of the Augustinian Order, a painting on stucco by Pereira Júnior (1841-1921), on the ceiling, and two notable pulpits on the walls.

Amongst the various chapels and altars the following stand out: that of Our lady of Grace, the patron saint of the convent, bedecked in Marian symbols, including the Coronation of the Virgin by the Holy Trinity on the ceiling and an image of the dead Christ at the base of the altar; the chapel of Our Lady of Persia, bearing the venerable image of this invocation, in all likelihood related with the precious sculpture from the 17th century which was taken to Isfahan at the time of the conquest of Ormuz by the Persians and redeemed by the Superior of the Augustinian convent of this city; and the altar of Nossa Senhora da Consolação da Correia (Our Lady of the Consolation), a devotion which is particularly important in the Order.

On the right-hand side is the former chapel of Senhor dos Passos (Our Lord of the Stations) and the chapel of Saint Augustine and São Marçal; on the side, the altar of Santa Teresinha/Saint Therese of Lisieux.

The chancel (6) is decorated with Augustinian themes: the altarpiece is presided over by the image of Saint Augustine with the Holy Saviour on the front; on the ceiling is the Vision of the Holy Trinity by Saint Augustine and the four evangelists by Pedro Alexandrino (1729-1810).

On the sides, twelve canvases, also by Pedro Alexandrino, depicting stages of the Life of Saint Augustine, and two twin organs from the 18th century, in typically Portuguese style, by Joaquim Peres Fontanes, inserted into spacious pulpits.

Here too you will find the images of Saint Andrew and Saint Marina.

At the bottom, behind the main altar, there are also two early chapels (7): one by Luís de Póvoas, with a notable altar-piece and the funerary chests of the founder and his family; and a second chapel with 14th century funerary chests which came from the former parish church of St. Andrew.

On the way to the sacristy there is an intermediate chapel bearing beautiful marble inlays lining the walls. In the centre, the altar of Senhor dos Aflitos (8) (Our Lord of the Afflicted) with the Crucifix of Friar Luís de Montoya, the urn bearing an inscription relating to the great reformer; on the door, a tombstone from the original founder of the chapel, Ana Almeida.

The ante-sacristy (9), contemporary to the 16th century works, altered in the 17th and 18th centuries, is also lined in polychrome tile in one of the most original Portuguese creations, probably from the Lisbon workshops.

Worthy of special mention are two altars with beautiful tile fronts, flanked by allegorical figures: Mercy and Faith; Hope and Justice. The convent’s staircase also boasts some notable tile compositions from the 16th century.

On two abutting spans there are two tombstones corresponding to the tombs of Jerónimo Fernando, the Bishop of Funchal (died in 1650) and Pedro Pueiros (died in 1649), tutor to Prince Teodósio.

Providing access to the sacristy, there is a magnificent Baroque portico, probably by João Antunes (1643-1712) with inlays in various tones, bearing the coat-of-arms of its founder, Mendo de Fóios. The whole unit is surrounded by polychrome tiles, where the allegorical figures of Magnificence and Liberality stand out.

The sacristy (10), an imperious Baroque construction dating back to the first half of the 18th century, was established by Mendo Foios Pereira (1643-1708). Worthy of special mention on the south side is a large altarpiece-shrine, carved in such a way as to accommodate a precious cross from Goa bedecked in silver gilt and precious stones, donated to the convent by Friar Aleixo de Menezes. Eleven reliquary busts remain, the work of the sculptor Claude Laprade (1675 – 1738).

On the opposite side, the tomb of Mendo Fóios Pereira, a marble mausoleum with an allegorical group of sculptures and a bust of Saint Augustine made of Ançã stone.

On the celling, the Assumption of Our Lady, a painting in perspective by Pedro Alexandrino, surrounded by various Augustinian-themed symbols and with the portraits of the donors, Mendo de Foios Pereira and his brother Friar António Botado.

On the walls there are several tiled panels depicting scenes in the Life of the Virgin and associated symbols. They date back to 1780 and are attributed to Francisco Jorge da Costa(1749 - 1829).

There are also numerous paintings, some referring to Saint Augustine and others with various themes, including an Annunciation attributed to Giulio Cesare de Teminé (1660 – 1734); and large wooden chests from Brazil with bronze applications and the Augustinian two-headed eagle.

On the upper floor there are several spaces decorated in tiles.

The first has eight magnificent panels from the 17th century depicting the Stations of the Cross (12).

Next, the previous chapel of Saint Augustine (13) contains portrayals of scenes of the Life of Saint Augustine and there are two niches with small urns, possibly from Afonso Nordin and his sister Filipa Morada, donors to this chapel in 1602. The chapel anteroom (14) is also lined in tiles painted with historical scenes, dealing with Augustinian themes too.

In the upper choir (15) there is a further organ made by Augusto Joaquim Claro (1865 – 1917) and inaugurated in 1907.

The Portaria (16) gives access to the old convent. It has an atrium with tiles painted with historical scenes on Augustinian themes; the upper part of the access door bears the emblem of the Order: a two-headed eagle, a book and a heart.

This space is a piece of architecture of great quality, recently restored. Of note is the remarkable pavement with marbles of various shades and the altarpiece at the south top, with the representation of Saint Augustine trampling on Heresy, a copy of the original by Vieira Lusitano (1699 - 1783) that is currently in the Museu de Arte Antiga.

Of the former convent there remains the exquisite 17th century main cloister (17), classified as a national monument; the chapter house (18), decorated in tiles; the former entrance gate; and the belvedere (19), bearing tiles compositions depicting profane scenes and portrayals of saints and reformers of the Order.

III . THE TILE PANELS OF THE CHAPTER HOUSE

The worthy missionary activity of the Portuguese Augustinians on the mainland and overseas, from the 16th century onwards, is portrayed in the notable tile panels which line the Chapter House, attributed to Valentim de Almeida (18th century).

At the entrance, in the central pillar, feature Friar Agostinho de Castro and Friar Aleixo de Menezes, two admirable Augustinian archbishops in missionary times; two large panels refer to missionary work in Persia and in the Congo by Friar Diogo de Santana (missing panel) and Friar Pedro da Graça.

On the right-hand side of the room the following are portrayed: Friar João Estaço, the great evangelizer of the Indians of Guaxaca in Mexico; Friar Nicolau de Melo and his companions, martyred an Astracã, and Friar Manuel de Nazaré in Zanzibar; Friar António de Elvas and Friar Inocêncio de Barcelos, also martyrs in France; Friar Guilherme de Saint Augustine, decapitated in Armenia; and nally, Friar Álvaro de Lisboa, a humble religious man of this convent of Graça.

On the left-hand side, the following martyrs are represented: Fr. Gaspar de Lisboa and Fr. Atanásio de Arronches at the mission of Mina; Friar Luís de Orta in Muscat, Venerable Gativanda — Saint Ketevan from the Orthodox Church of Georgia — in Shiraz, in Persia; Friar António da Natividade and his companions in Mombasa.

On the inner face of the central pillars feature Friar João da Cruz, from Goa, and Friar Aleixo de Penafirme, a friar of said convent.

Two large panels at the bottom of the room, portraying the life of Friar João de Estremoz, a venerable religious man of the Hospital of Caldas da Rainha, complete this magnicent series of tile panels.

IV . GOVERNORS OF INDIA AT GRAÇA CHURCH

The Convent of Graça has a particular association with the Portuguese presence in the East and it was here that four Governors of India were buried.

Alfonso de Albuquerque (1453-1515), the second and most notable Governor, instituted a chapel at this convent in 1506, where his father Gonçalo de Albuquerque and his great grandfather Gonçalo Lourenço Gomides were buried. Having died in Goa, his mortal remains were solemnly transferred to the main chapel of the Convent of Graça in 1566. In 1637 the “gracianos” bestowed the patronage of the chapel upon Diogo de Menezes.

Demolitions carried out on the former chapter house in 1900 uncovered the funerary chest of the Gomides which was then transferred to the chapel situated at the entrance where it is still to be found.

Lopo Soares de Albergaria (1452-1520), the third governor of India, also instituted a chapel at the monastery where his parents, Rui Gomes de Alvarenga and Melícia de Melo, were already buried.

Henrique de Menezes (1496-1526), the seventh governor of India, would later have a tomb at the main chapel, instituted by his grandson, the count of Ericeira, Diogo de Menezes; according to some authors, this tomb was lost during the earthquake of 1755.

Also buried at the Graça church, in an unknown grave, there lies André Furtado de Mendonça (1558-1611), another Governor of India and one of its most worthy captains.

V . THE ORDER OF SAINT AUGUSTINE

The hermits of Saint Augustine have their origin in the monastic communitarian life introduced by Saint Augustine (354-430) in Northern Africa. In Europe, many religious brotherhoods and congregations adopted the rule of this great saint; in 1256, in the Great Union, they were joined into one single Order, the Ordo Eremitarum Sancti Augustini (OESA).

In the 16th century, the Augustinians began to be sent off on missionary work overseas: Africa, America and the nether regions of Asia.

In the wake of the Protestant movement, many Augustinian convents were closed all over Europe in the 18th century; from the 20th century onwards there has been a consistent development in the Order, which now has numerous provinces and thousands of Augustinian friars spread around the world.

In Portugal there may have been congregations inspired by the rule of Saint Augustine before the Order was unified.

In the 12th century the small convent of Saint Gens was built in Lisbon, the origin of the Convent of Nossa Senhora da Graça. In 1256, at the time of the Great Union, the Portuguese Augustinian convents were subjected to the province of Spain and Portugal; but in 1387 an independent, provincial vicariate was created, having as its provincial home the Convent of Nossa Senhora da Graça, the reason why the Augustinian friars are also called “gracianos”.

The reform of the Order in Portugal started in 1535 with Friar Francisco de Vilafranca and Friar Luís de Montoya, both from the province of Castile. According to some authors, this is the period of splendour of the Order, with the foundation of numerous convents in Portugal and in missionary lands. In 1572 the first missionaries set sail for India, reaching countries as distant as Persia, Georgia, Pakistan and Russia, as well as the lands of the Congo and Mina and the eastern coast of Africa.

The East India Congregation of the Portuguese Order of the Hermits of St. Augustine was created, which prospered until the mid-18th century.

After the extinction of the religious orders in Portugal, in 1834, the Order was restored at the end of the 20th century; in 2010 a Portuguese Augustinian father was ordained.

The Augustinian Order, which has great saints and numerous martyrs, carried out important activities in the fields of education and culture by way of prestigious schools and large libraries.

The Augustinian friars wear a black habit with the characteristic belt, also black. The coat-of-arms of the Order, now called the Order of Saint Augustine (OSA), has the symbols of the great saint: a heart in flames (an expression Augustine’s love for God), an arrow (an expression of God’s love) and an open book (representing the Word of God).

VI . NOSSA SENHORA DA GRAÇA (OUR LADY OF GRACE)

The devotion to Our Lady of Grace is very old amongst the Augustinians. At the start of the 14th century the monasteries began to have this invocation by general indication of the Superior of the Order, Friar Francisco do Monte Rubiano, after a vow he made in Rome in gratitude to the Mother of God.

In Portugal, the appearance of a small image of Our Lady with Jesus in the nets of the fishermen of Cascais on August 14th 1362, transported in procession to the Augustinian convent of Lisbon, gave rise to deep devotion among the people which is still continued today.

VII . SENHOR DOS PASSOS (THE STATIONS OF OUR LORD)

The Royal Brotherhood of Santa Cruz e Passos da Graça (Holy Cross and Stations) was formed in 1586 by Luís Álvares de Andrade, a royal painter. It is the oldest brotherhood of this invocation to be found in Portugal and it gained notoriety due to the fact that members of the Portuguese nobility belonged to it.

The Procession of the Stations of Graça, undertaken by the brotherhood, is of a penitential nature. It was first staged in 1587 and became one of the most popular devotions in Lisbon. It ran through the streets of the capital during Lent between São Roque and Graça, stopping off at seven stations: the Passos (stations). Nowadays, it is always held on the second Sunday of Lend.

The chapel of Senhor dos Passos, the seat of the brotherhood, initially set up in one of the wings of the main cloister, has been located in the church transept since 1668; partially destroyed by the earthquake, it was rebuilt between 1765 and 1772 and here one finds the venerable images of Senhor dos Passos da Graça and Nossa Senhora da Soledade (Our Lady of Sorrows). All the decoration alludes to the passion of Christ and the Holy Trinity. The brotherhood also has other outbuildings, including the room of miracles and promises, in the crypt, whose walls are lined with vows, of iconographical and devotional interest.

 

REFERENCES

• SOUTO, António de Azevedo Meirelles, “Os azulejos do Convento da Graça em Lisboa”, in Separata da Revista Municipal, n.º 120 - 121, Lisboa, 1969.
• AZEVEDO, Carlos, Dicionário da História Religiosa de Portugal (dir.), Lisboa, Círculo de Leitores, imp., 2000.
• ALONSO, Carlos, Os Agostinhos em Portugal, Madrid, Ediciones Religión Y Cultura, 2003.
• AZEVEDO, Carlos Moreira, Ordem dos Eremitas de Santo Agostinho em Portugal (1256-1834,) edição da Colecção de Memórias de Fr. Domingos Vieira, OESA, Lisboa, Universidade Católica Portuguesa, Centro de Estudos de História Religiosa (CEHR), 2011.
• QUEIRÓS, Mónica Ribas Marques Ribeiro de, O arquitecto Mateus Vicente de Oliveira (1706-1785): uma práxis original na arquitectura portuguesa setecentista, Lisboa, Tese de Doutoramento, Universidade de Lisboa, Faculdade de Belas-Artes, 2013.