José Saramago calls the area near Aveiro, "Terras baixas, vizinhas do mar" ("Lowlands beside the ocean"). This means easy travel, especially as we've seen, the roads tend to be in good shape and empty. Our plan is to travel north and work our way south. We begin our exploration in the town of Santa Maria da Feira, then Ovar, and Válega. Also, today is Corpus de Deus and we have no idea what will be open, so here's hoping …
Santa Maria da Feira (pop. 139,309 in 2011) is a comfortable, small city. All the 'attractions' are on the south side, part of a leafy jardin area, and very manageable. If we park at the castelo, we must climb the hill on our return. But these are the terra baixas, the slopes are gentle, and there is no need for an elevador. We arrive, park, and the castelo is open.
Now he’s off to Feira, famous for its castle, most of all for its keep with its conical turrets which, to the traveller’s eyes, give it the air of a palatial home, not in the least bellicose: merely the peaceable estate of some local landowners. It’s true that the arrow-slits still exist, but even these have an explanation, assuming that the 'fidalgos' whiled away some of their leisured hours in target practice in order not to lose the habit altogether. The traveller may appear disrespectful, due to a simple largely untutored manner of protecting himself against the sense of tenderness induced by those ancient stone. (José Saramago, “Journey to Portugal,” 1990; trans Hopkinson-Caistor, 2000)
The bilheteria is in the old Casa da Capelania, part of the Capela de Nossa Senhora da Encarnação (seventeenth century). Actually, it's in the lower level of the old Casa, in what looks to be the sacristy. Instead of vestments, the cases are full of Templar statuettes, and for the kids, play swords. The chaplain's residence is outside and up a flight of stairs. The Casa also infills the gap between the Capela and the barbican for the Castelo – the chaplain thus lives outside the fortress walls.
The Capela itself is adorable, a modest hexagonal chapel beautifully kept and lit. There are beguiling grotesques at the base of each rib of the dome. At the altar is Nossa Senhora, mother and child in an elliptical burst of stars, with an Annunciation scene above. To Her left is a chapel dedicated, we are told, to São Caetano de Thiene, the patron saint of the unemployed, bread, and work. To Her right is another chapel with a female figure holding a a martyr's palm, and a book, but no further information is offered. At the base of this figure is a set of smaller statues, like a family group, but the central female is holding a plate with two eyes, so this may be Santa Lúcia.
Now, those seem like two rather obscure saints. A quick check of the inscription over the door reveals the patron of the Capela as Countess of Feira, D. Joana Forjaz Pereira de Meneses e Silva, who ordered its construction in 1656, and must have had peculiar tastes. Searches for the Countess turn up little, but according to this history, she, "succeeded in her father's house and title by virtue of the waiver of the mental law granted in the charter of January 26, 1605". 'Mental law' sounds sketchy, but maybe something is lost in translation.
The small, seated figure at the lower right, looking a bit bored, is particularly enchanting. Is that a small dog? or a piglet in its lap?
Of all the castles in Portugal, the Castelo de Santa Maria da Feira (ninth century) may be one of the most theatrical. The "conical turrets" make a statement. In fact, it's four towers with five cones each, four small coruchéus around a larger one (for a total of twenty!). The entrance, through the barbican, makes a defensive, uphill U-turn. So, we arrive on a sweeping ramp that dramatically centers us on the Torre de Menagem (fifteenth century).
It is quiet inside. The workers must be off today, though some work is underway on the lower structures on the north side of the fortress, which is barricaded. Carved blocks line the north edge, and it seems they will be recovered and saved (or maybe even re-incorporated?). The remaining areas of the castelo are easily explored. From the parapet, we are just high enough to have views over the trees to town. Just on the left of the portal, there is a still functioning fonte, and the yard is open and compelling, full of interesting shapes.
Inside, the Torre's Gothic hall is also largely intact, though a kind of balcony has been inserted (we assume to expand capacity for events). The central tower provides access to the roof. We can see there is a smaller portion of the fortress to the east, all in excellent condition.
It is easy to imagine the feiras, which we've seen online, with the grounds and the townsfolk dressed for the times, like a Disney cosplay.
Unlike Leiria and other 'castle villages', the buildings of Feira are at a distance from its castelo, which is isolated on a wooded rise. They are connected by the Jardins do Castelo, which ramble down the slope to a fountain, near the Convento dos Lóios and the Igreja Matriz de Santa Maria da Feira. But as today is Corpus de Deus, there is some service or event taking place, with a crowd of well-dressed locals, and we are left to take pictures outside.
Our next stop is the town of Ovar (pop. 55,398 in 2011). Saramago describes the Museu de Ovar as, "a storehouse for absolutely everything", which sounds extremely intriguing. But, when we arrive, it is closed. It may be closed for the holiday or for lunch, as the horário sign says it'll re-open at 14:00. Before learning the answer, we have time to wander from the Largo Familia Soares Pinto and find refreshment.
The Museu is just behind the Praça da Republica, which is devoid of life – not a good sign. At the south end of the Praça is the Igreja de Santo António. At the other end is one of several Capelas dos Passos (early eighteenth century), small chapels marking the Stations of the Cross, scattered throughout the town.
Just west of the Praça is the Jardim dos Campos, with a small tiled capela anchoring the western end (Capela das Almas dos Campos, early nineteenth century). In the Jardim, beds of multi-colored roses are in full bloom. In the center is a bust of Júlio Dinis, 'Man of Ovar', a well-known Portuguese writer, and across the street is a small museu dedicated to him as well.
After lunch we return to the Museu, and it is still closed, so that's that. We walk down to the Praça das Galinhas, where there are at least a few patrons at the cafes. Before we leave, we try to find the tall, tiled church towers we passed when we arrived in town, at the Igreja Paroquial São Cristóvão de Ovar.
Finally, we stop in the small town of Válega (pop. 6,827 in 2011), at the Igreja de Nossa Senhora do Amparo (Igreja Paroquial de Válega, eighteenth century). The polychrome 'graphic novel' tiles date from 1959-60. The tiles are from the Fábrica Aleluia in Aveiro. Saramago's "Viagem" dates from 1979, so he might have stoped here, but he makes no note of a visit. We are on our own.
The blue-and-white tiles on the east (back) and north sides are from the 1975. The parking is on the east, so that's where we start. For tile-lovers, this is something unique; we will focus on the tiles.
We should also add a disclaimer here, as we are not Christian or religious. These stories are of interest because the communities here, and all over Portugal, have invested creativity and devotion in their telling. This is about the Bible and Christ, yes, but this also about the people who made it and still care. It is worth our effort, in research and understanding, if we want to 'get to know' the place and the people. That said …
The center panel on the east side shows Nossa Senhora do Amparo (our Lady of Refuge) against a broad field of patterned tiles, with a 'wainscot' band at the base. On the north side are two panels: Senhor dos Passos (Christ on the way to Calvary) and Nossa Senhora das Dores (Our Lady of Sorrows). It's fascinating to see the precisely cut stone frames that outline the tile images, and that all the tiles are absolutely scrubbed clean.
There are eight story panels on the main facade on the west, each clearly and conveniently labelled. Starting with the bell tower is "Jesus Dá as Chaves a S. Pedro"(Jesus Gives the Keys to St. Peter), from Matthew 16:18-19:
You are Peter, and on this Stone I will build my Church, and the gates of the Abyss can do nothing against it. I will give you the keys to the Kingdom of Heaven; everything you bind on earth will be bound in Heaven and everything you loose on earth will be loosed in Heaven.
In the pediment is the "Adoração da Eucaristia" (Worship of the Eucharist) with the monstrance conveniently placed on the window lintel surrounded by angles – most appropriate for Corpus de Deus. Oddly, in attendance are figures representing Native Americans and Pacific Islanders (maybe?), which seems very 'politically-incorrect', or even 'colonial'.
Across the upper level of the main facade, starting from the left is "Baptismo de Constantino" (Constantine's Baptism) and "Comunhão de S. Luis" (Communion of St Louis). The Emperor Constantine was the first Roman emperor to convert to Christianity, and then recognized its practice in 313. King Louis IX of France helped lead the Crusades in the Holy Land in the thirteenth century.
Continuing, on the right is a panel simply titled, "Matrimónio" (Marriage). And lastly is "São Carols Borromeu Ministrando A Extrema Unção" (St Charles Borromeo Ministering The Extreme Anointing), which refers to the anointing of the sick during the plague in Milan in 1576. Taken all together, these four panels illustrate baptism, communion, marriage, and healing – almost a catalog of services.
On the lower level there are two monumental panels. The one on the left is "O Dogma da Imaculada" (The Dogma of the Immaculate) and on the right is "A Proclamação o Dogma da Imaculada Conceição" (The Proclamation of the Dogma of the Immaculate Conception). The 'Immaculate' lends meaning to the services and is the reason for the dedication of this chapel. Most striking, the beam of 'Holy Spirit' spot-lighting the face of the Pope looks rather dangerous. A small book, available at the Igreja, says:
During the centuries, the Church has become aware that Mary, "full of grace" by God (Lk 1,28) had been redeemed from her conception. Which confesses the dogma of the Immaculate Conception, proclaimed in 1854 by Pius IX: "The blessed Virgin Mary was, at the first moment of her conception, by a singular grace and favor of almighty God, in anticipation of the merits of Jesus Christ, savior of mankind, preserved intact from all original sin". (CCC, no. 491). (Américo Matos, “Válega aos Pés de Maria,” 2018; trans Apple/Google, 2022)
Even primed by the spectacle outside, as we pass through the frosted-glass vestibule, we are caught in a 'jump-scare' by the Altar de Nossa Senhor dos Passos. This chapel, on the south side, looks right into the vestibule (the baptismal font is on the north side). And the lighting certainly helps the effect.
Just inside the entry vestibule are two altars, one for Nossa Senhora das Dores (to the north) and one for the Imaculado Coração de Maria (to the south). The 'Senhor dos Passos' and the 'Senhora das Dores' are evidently the sources for the artwork in the tile panels on the north facade.
Here are a few wide-angle shots just to map how things fit together. Though the Igreja has sculpture and stained glass, we will focus on the tiles.
The panels, in order from back to front (toward the altar), first the north (left, Evangelist), then the south (right, Epistle) …
"Santa Maria Mãe de Deus Rogai por Nós Pecadores" (Holy Mary, Mother of God, Pray for Us Sinners) is an image of the Assumption of Mary. The Feast of the Assumption is on August 15th, and also celebrates the Nossa Senhora do Amparo.
The panel opposite is divided in two by an ornamental frame and a cherub. On the right is "Bendita Sois Vós Entre As Mulheres e Bendito o Fruto do Vosso Ventre" (Blessed Are You Among Women and Blessed Is the Fruit of Your Womb), which shows Mary's visiting Her cousin Elizabeth (who carries John the Baptist) and singing the Magnificat.
On the left is "Ave Ó Cheia de Graça o Senhor É Convosco" (Hail, O, Full of Grace, the Lord, Is with You), an Annunciation scene with the Archangel Gabriel bringing news of the Messiah's birth to Mary.
Two smaller panels follow. First, "Agora e na Hora da Nossa Morte" (Now and at the Time of Our Death) is from the Book of Revelation:
Now and at the hour of our death. Mary crowned in Heaven as Queen of Angels and Men, so the faithful understand it, as a corollary of holiness of the Mother of Jesus Christ, Savior of Humanity. (Revelation 12, 1) (Américo Matos, “Válega aos Pés de Maria,” 2018; trans Apple/Google, 2022)
Matos also explains "A Apresentacão de Nossa Senhora no Templo" (The Presentation of Our Lady in the Temple):
The episode represented here is does not appear in the gospels. It is based on an apocryphal document, not included in the biblical canon. It is also supposed that the couple Joaquim and Ana, parents of Mary, who presented her in the Temple, as a baby, in compliance with the Law of Moses. (Leviticus 12, 5 to 8) (Américo Matos, “Válega aos Pés de Maria,” 2018; trans Apple/Google, 2022)
The panels closest to the altar illustrate two apparitions of the Virgin: "Nossa Senhora de Lourdes" (Our Lady of Lourdes) and "Nossa Senhora de Fátima" (Our Lady of Fátima). In 1858, an apparition tells a poor girl from Lourdes, collecting firewood by the Gave River in the French Pyrenees, "I am the Immaculate Conception". In 1917, an apparition instructs three children from Fátima (Lúcia, Jacinta, and Francisco), at the time of World War I, to pray the rosary every day, with their families, to bring peace to the world.
In the Coro Alto, there are two additional panels that give some attention to St Joseph. "A Morte de São José" (The Death of St Joseph) and "A Fuga [da Sagrada Familia] para o Egipto" (The Escape [of the Holy Family] to Egypt). But of course, this chapel is devoted to Nossa Senhora do Amparo, who is celebrated at the other end.
In the Altar Mor, the image of the "Assunção de Maria ao Céu e a Sua Coroação pela Santíssima Trindade" (Mary's Assumption into Heaven and Her Coronation by the Most Holy Trinity) marks the end of the Marian cycle. It is a painted canvas, rather than tilework, by Válega's hometown artist, Rosa Libório (no date for the work is given). In terms of the artistic merit, the draftsmanship is maybe not on the same level as the artwork in the tiles. For example, the proportions and the foreshortening in some of the figures looks 'off', but the drama is consistent. And thus concludes a day with plenty of 'theater'.
The Matos book ends with this Hymn:
Toda formosa, alegres Te cantamos
Ó Mãe do Amor formoso e nossa Mãe
A sombra do pecado não tocou
Teu ser imaculado
Glória do nosso povo e do seu templo.
Honra da Igreja e seu modelo vivo,
Senhora, faz que pela vida fora
Sigamos os teus passos.
("Toda Formosa", Hino de Vésperas I da solenidade da Imaculada Conceição da Virgem Santa Maria - 8 de Dezembro)
[All beautiful, cheerful, we sing to YouO Mother of beautiful Love and our MotherThe shadow of sin didn't touchYour immaculate beingGlory of our people and their temple.Honor of the Church and its living model,Ma'am, do it for life outside
Let's follow in your footsteps.]("All Beautiful", Hymn on Vespers I of the Solemnity of the Immaculate Conception of the Virgin Santa Maria - December 8)
No comments:
Post a Comment