This morning we drive north from Alfaiates, through Sabugal, to Guarda (pop. 42,541 in 2011). In Lisboa, we think of our freguesia (civil parish), as our most direct access to government services. Though Alfaiates is a município, it is also a freguesia, a civil parish in the concelho of Sabugal. Sabugal is both a município and a concelho, and is part the distrito of Guarda. Guarda is a município, a concelho, and a distrito. All of these municípios are within the província tradicional of Beira Alta.
In organizing this trip, the term 'Beira' came up time and again, so became a way to keep track of locations. Beira 'Alta' is also part of the Beira 'Interior Norte'. Beira Interior Norte was a sub-região of Beira; the current (larger) região is simply called Centro.
Confused? Yes. After Portugal tried to re-organize several times, the EU came and re-organized several times – they literally use a system called NUTS. In any case, it's still easy to think of the Beira region as Portugal's old frontier.
Guarda is not only a regional administrative center, it is a religious center, and is home to the Sé-Catedral da Guarda, whose construction dates from 1390. The Gothic design is notable for the close-set octagonal bell towers, and the series of flying buttresses along each side. 'Flying buttresses' is not only a fun thing to say and write, they are an outstanding visual treat. In fact, this catedral seems to have most of the good stuff from the Gothic 'options list': groin vaults, gargoyles, finials, crockets, and pinnacles. With all those edges and surfaces, the morning sun is able to ignite the cold stone.
The main door is trimmed with an exquisite Manueline surround, including lively, spiraling columns and a Madonna under a half-shell. The tourist entrance, however, is on the north side, facing the Praça Luís de Camões. This door has a more Gothic treatment – layered arches and columns, a steep and elaborate pediment, and pointed-arch panels inset with trefoils.
Set above the north door is another wonderful Manueline window, again with spiraling columns, and the shield of the Monarchy. Dom Sancho I proudly stands to the east (the King who founded Guarda in 1199).
The interior of the Cathedral is surprisingly light, with the clerestory windows providing more illumination that their sizes might suggest. The clerestories are round arches with pairs of trefoil frames. The congregation space consists of five bays of Gothic arches above, but with Romanesque-looking arches along the aisles to the crossing, though the arches and vaults within the aisles are (just slightly) pointed. Thus the interior is a fascinating mix of Romanesque, Gothic and Manueline.
The last bay before the crossing is marked with twisting Manueline columns reaching up to the vaults. They seem to 'spin' the falling light back to the ceiling, and set off the transept and altar from the nave.
The altarpiece is remarkably clean and clear: four levels of gold figures set within a white, rounded, classical colonnade. The different sections tell the story of Christ's life, from Annunciation and birth, to Last Supper, to Passion and Crucifixion – all very easy to read.
At the southwest corner of the crossing, a stair takes us up to the terraço. The spiral stair seems to tighten as we go up – the winders no longer stack vertically as the center also begins to spiral. Before reaching the roof, we find a small metal door that opens to the sun-drenched deck of the clerestory.
From here, up close, we can really get to know all the gargoyle characters. The patina under the flying buttresses and inside the parapet is quite a bit heavier than the 'more visible' (less rained-on) surfaces, and gives extra contrast to the morning shadows.
The crockets on the upper pinnacles are deeply dimensional, and create intense highlights and shadows. Despite the sunlight pouring down and our confinement under the low arches, the views to the city are delightful.
Back into the spiral stair, and our eyes need a minute to adjust. Then up to the roof terraço and back into the glare. As our aging eyes settle, the landmarks become visible: the castelo to the southwest, the Igreja da Misericórdia to the east, the Praça to the northeast, and the hills of the Serra da Estrela to the northwest.
The crossing is capped by a dark, flat roof; the corners extend nearly to the perimeter of the church. It's a squeeze to slide from one part of the roof to another. We make our way round to the roof over the nave, and are rewarded with views of the torres sineiras. We especially enjoy the Dr-Seuss-like ironwork holding the smaller bells over the south tower.
From the Sé, we walk out of the Praça Luís de Camões in search of the Torre dos Ferreiros – the old blacksmiths' tower. We find the old porta and a small offering chapel, but the stair is locked. The sign says you need to get a QR code from either the Welcome Center (in the Praça) or the Museu (just around the corner) and to take the elevator rather than the stairs. Looking at the overly-updated construction, and considering the views we already had from the cathedral's terraço, we decide to pass.
Just past the Torre is the Igreja da Misericórdia da Guarda, but it is closed, so we are off to find lunch. The long lunch breaks are strictly adhered out here on the frontier, and they do make site seeing a lot more complicated.
After lunch, the Igreja is open, so we step inside. The façade reminds me of the Nasoni-Baroque churches we saw around Porto; this one was commissioned by Dom João V, and dates from the early eighteenth century. This seems like a 'well dressed' but modest church: lots of swoopy pediments and urn finials, and thick stone trim set against whitewash. There is an eye-catching Madonna and child above the entrance – the Virgem da Misericórdia.
The interior consists of a single space, with elaborate altars facing us at angles, all arranged toward the apse. The remainder of the space is unassumingly trimmed in dark woods, with a few spots of azulejos.
In another wing, there is also exhibition space for contemporary art or other temporary shows.
Finally, we head up the hill to the Castelo da Guarda. The torre de menagem is obvious enough, but very little remains of the outer walls. The torre is closed, so we content ourselves with the wide views of the city. Considering the torre, it does seem that much of its historic 'defensive' nature has been stripped or hidden – it looks nearly sculptural and 'modern' in its abstracted plain-ness. Or perhaps this is because of its context; the city has installed water tanks and radio towers all around the site.
We return to Alfaiates, and continue our exploration of the village. To the west we discover the Igreja da Misericórdia e São Sebastião – a wonderfully-scaled stone chapel dating from the thirteenth century. Impressively, a royal wedding was held here on March 26, 1328, between Infanta Dona Maria de Portugal and Dom Afonso XI of Castile. This was also the town's 'mother' church (igreja matriz) until the fourteenth century, and was dedicated to São Sebastião; during the 16th century is was under the Order of Christ.
A handsome pelhourinho stands opposite the Igreja in the Praça Rainha Santa Isabel. There is also a long trough (maybe for livestock or laundry) with water trickling in and out.
On the east end of town we chance on a statue of a bull, and a large rake-like contraption made from tree limbs that the locals use during their style of bullfighting (there is another at the entrance of the Castelo do Sabugal). There are many statues of bulls in the roundabouts we pass, and we imagine this a popular, if peculiar, pastime.
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