Church of Saint Peter of Abragão

Already in 1105 the Church of São Pedro de Abragão was mentioned. Over the centuries, it has undergone several reconstructions, recoveries and restorations. The last was done by the Romanesque Route. The trip through Tamega's Valley starts here, in a church that still has a chancel with Romanesque style.

Outside the chapel is observable a frieze composed of geometric motifs that may have Mozarabs and Visigothic influences. Inside, the rectangular chevet consists of two sections in rhythm and staggered abutments. The chapel decoration is vegetal themed including the triumphal arch which is surmounted by a rosette in the shape of a five-pointed star.

The rounded bases, addorsed columns and the capitals, very bulky compared to the low height of the chevet, feature decorative themes similar to those of the main portal of the monastery of Travanca (Amarante). The gilded altarpiece is already Baroque

We cannot fail to mention the contrast that exists between the whitewashed walls of the nave and the mural in shades of blue from the wall of the triumphal arch that conveys a light and a unique character to this church.

In 2006, when doing reconstruction works in a building (that was once used as a blacksmith's workshop) near the Parish Council the workers began to discover parts, some with apparels, others carved, belonging to the former nave of the church. It were found capitals, bases, ashlars and staves within a portal that leads to the conclusion that the nave would have unusual big dimensions for the time. These pieces have been the motto for the construction of the Interpretation Centre of Romanesque Sculpture, in the vicinity of the Church of Abragão.

Church of Saint Genesius of Boelhe

The Church of Saint Genesius of Boelhe stands out immediately, not only for its small size, but also by the stunning landscape around.

Located in a slope of the Tâmega River, this church that has no cult and it's almost naked on the interior has still the affection of the people.

Tradition attributes the foundation of the Church of Boelhe to D. Mafalda, daughter of D. Sancho I, or of her grandmother that shares the same name. But the theory that it was the young Mafalda won advantage since she was raised by Urraca Viegas de Ribadouro, patron of the monastery of Tuías (Marco de Canaveses), in honour of Louredo, owned by her scholar. This must have contributed to support the tradition that has been D. Mafalda, the goody, the founder of Boelhe and Abragão.

This church of a single nave and rectangular chevet features high quality of ashlars where are visible marks of half a dozen masons.

The decor is above average, particularly the capitals with palms done by bevel, typical of the "rural Romanesque" from the Sousa's river, the crosses within circles that point to decorative influences of pre-Romanesque architecture of Visigothic and Mozarab times.

The quality of the decoration can be also seen in the corbels, especially on the north side, with motifs that go from bull heads to men carrying stones or even geometric elements.

The portal is very similar to the churches of Unhão, Airães and Sousa, in the council of Felgueiras. Many of the elements that have reach us are the result of the interpretation made during the renovation carried out by the General Direction of National Monuments and Buildings between 1929 and 1948, so many of the Romanesque features are misleading.

Church of the Saviour of Cabeça Santa

This church, dating from the first decades of the 13th. century, apeared in Inquiries of 1258 as "Saviour of Gândara". Only in the late 17th. century starts to be called "Cabeça Santa" due to a skull kept in a silver reliquary and exposed on an altar in the nave of the church.

The architectural and decorative similarity with the Church of Saint Martin of Cedofeita and, therefore, with the see of Oporto, It is not insignificant as it can be seen similar arrangements at the portals, in the sculptures, in the transept and in the capitals.

Since we are inside the temple, you may notice the lack of colour, of altars, paintings, images or other type of liturgical furnishings. The big difference is in the chapel of our Lady of the Rosary, coated with tile in harmony with the gilt and the wood. A magnificent work in Baroque style.

Returning to the outside by the Western portal you will encounter a tympanum where rest heads of cattle and capitals with birds set in front of each other. In one of the capitals appears the figure of a man trapped in the jaws of an animal that can be interpreted as the Man imprisoned by sin.

At the side you will find another peculiar character: a acrobat seems to be in the middle of a demonstration of his skills writhing in one of the capitals next to fantasy elements and faced birds.

Before you go, be sure to see the three graves dug into the rock that lie in the churchyard.

Monastery of Saint Mary of Vila Boa do Bispo

Tradition says that this monastery was founded between 990 and 1022 by D. Monio Viegas, brother of D. Sisnando, bishop of Oporto between 1049 and 1085, built on the site where there was a skirmish between Christians and Moors and where D. Sisnando eventually fell.

Mentioned in the 11th and 12th. centuries as “Monastery of Holy Mary of Vila Boa”, this monastery was already linked to the Monks of Saint Augustine in the mid-12th. century and closely connected to the powerful family of the Gascos de Ribadouro. In the centuries. 13th and 14th it was one of the richest and most powerful monasteries in the region.

In front of the church we find the original Romanesque elements. Although incomplete, the two blind arcades that flank the main portal, completely refurbished during the modern times, It is still possible to view on the ashlar, and the animals set face to face.

Vila Boa do Bispo may well be a unique example in Portuguese Romanesque architecture due to how the facade is decorated that reflects foreign influence.

Inside the temple, the white walls of the nave contrasts with the ostentatious altar and gilded triumphal arch.

On the ceiling of the chancel, were discovered, in 2006, magnificent 17th century paintings representing hagiographic themes.

Church of Saint Andrew of Vila Boa de Quires

The Church of Saint Andrew of Vila Boa de Quires, one of the most elaborate of the lower Tâmega, It was surely founded before 1118 because it was in writings of this time.

The facade consists of two takes: the main portal and the window immediately above. This model is similar to the Church of Barrô (Resende) and derives from the see of Coimbra.

The window in Manueline style, with tympanum with a opened cross (IE, with a opening to the inside), it is flanked by elongated archivolts, based on columns with carved capitals.

The portal has influences of the monastery of Paço de Sousa (Penafiel) with its capitals of vegetal motifs. The present Corbels shaped like heads of oxen as in the Church of the Saviour of the Tabuado.

Inside the building the colour of the chancel in contrast to the bare walls of the nave.

The triumphal arch, composed of three archivolts, supports capitals where are carved palms and mermaids with intertwined tails.

In the chancel, the main altarpiece is neoclassical and the walls are lined with tiles characteristic of the first half of the 17th. century. The set is complete with the dome paintings that narrate scenes of the process and of the passion of Christ whose route ends in the paint on the triumphal arch, on the nave.

Church of Saint Isidore of Canaveses

This small church was probably built in the second half of the 12th. century and it is an example of several dialects of Romanesque architecture, such as the Oporto's Romanesque (torus of the archivolts), Romanesque of the Sousa's Valley (alternation between prismatic and cylindrical columns) and the Romanesque from Braga (palms).

Corbels on both sides prove the existence of porches. If the ones on the north side are flat and rectangular, the ones of the South present ornaments. Which motives? Well ... A phallus, for example. Yes, you read well. This church presents a phallic motif in its ornamentation. Why? May be reminiscent of Roman art and pagan cults. We can not forget that the profane stood outside the church and inside reigned the divine.

In the interior, the walls of the nave are raw and cold and the environment is dark. In the chancel, preceded by a slightly broken arc, there is no longer the retable set due to an intervention in 1977. Instead, there is a mural, signed by the painter Moraes, in back and side walls. Of the artist little is known, but the triptych in front of us supports the Virgin and the Child and Holy Catherine of Alexandria. It is perfectly noticible that there's something missing in the image and they point out for us the traces of a crosier and the lower part of a mantle. Certainly that at the center would be the patron of the church, but where is Saint Isidore? At least we know where his head is. It is discreetly displayed near the altar.

At the adjacent walls we saw Saint Michael weighing the souls and, on the opposite side, Saint James represented as a pilgrim. It's also time for us to follow in our own "pilgrimage" by the Romanesque Route.

Church of Saint Mary of Sobretâmega

To reach the Church of Saint Mary of Sobretâmega is to create a link with the river, is letting yourself go in the calm waters that bathe Marco de Canaveses.

We are on the right bank of the Tâmega River, on a hill overlooking the new bridge. A small church, example of what is called "Romance of Resistance", rises sober and closed on it's own, without columns or capitals at the entry portal.

The crevices let in enough light to illuminate the white walls of the nave. Inside little remains of the Romanesque, having been replaced by modern styles such as the main altarpiece in gilded.

On the other side of the river, the Church of Saint Nicholas of Canaveses calls us. In the medieval era, D. Mafalda, daughter of D. Sancho I, may have built the Canaveses crossing. The bridge, of extraordinary dimensions for the time (would have 5 arches), was replaced by another in 1940 and a few decades later, submerged as a result of the construction of the dam of Torrão (Marco de Canaveses).

Church of Saint Nicholas of Canaveses

On the left bank of the Tâmega River we find the sister Church of Saint Mary of Sobretâmega, the Church of Saint Nicholas of Canaveses, located next to the old bridge of Canaveses, now submerged due to the construction of the dam of Torrão. Despite its sparse population, the village of Canaveses maintained an importance that was still very relevant in the 14th. century. It was here that the peace between father and son was settled, the king D. Afonso IV (r. 1325-1357) and D. Pedro I (r. 1357-1367) on 5 th of August 1355.

This small church is another example of the "Romance of Resistance" by the absence of ornamentation in the Western portal as well as columns. Consists of a single nave and a rectangular chancel. Needless to say, the large windows are not Romanesque.

Worthy of note is what remains of the mural, discovered accidentally in 1973, when the church was being connected to the power grid. In addition to its significant number, the mural set of Saint Nicholas excels by the fact that, stylistically, presenting a clear relationship with testimonies from other nearby churches, in particular: Valadares (Baião); Gatão (Amarante) and Vila Verde (Felgueiras).

Church of Saint Martin of Soalhães

This is another one of those churches with superb surroundings. Located in a large space, with views of the mountains around, the Church of Saint Martin of Soalhães still conveys the importance of medieval times, first as a monastery and later as parish church.

The main portal, already proto-gothic, without tympanum and with its archivolts supported by columns whose capitals are carved with vegetal and wildlife motifs.

When we take two steps into the nave we had to stop to give time to our eyes to recover breath. The tiles in cobalt-blue, the embossed images on the sides, the numerous coffers on the ceiling that lead our eyes to the chancel. It is noticeable the "horror to empty" characteristic of more modern styles. Indeed, it seems that nothing was left empty.

Compared with the nave, the chancel is particularly stripped of ornamentation. The only thing worthy of note is the tomb that should have received the body of some of the first heirs or their descendants among the 13th an 14th. centuries.

The Church of Saint Martin of Soalhães was one of the biggest surprises of this Route, because of the contrast that exists between the simple exterior and the exuberant beauty of the interior. Not to be missed.

Church of the Saviour of Tabuado

What draws attention in the outset Church of the Saviour of Tabuado is the bell tower glued to the main façade of the temple. It creates a perpendicular effect different of other buildings of the Route.

The main portal stands out for the quality of its design. The tympanum supported on two ox heads corbels, the pearls, the face to face animals, the design of the surrounding arc which forms a network of lozenges and the "half-spheres" or pearls, recurring motifs in the Romanesque of Tâmega's Valley.

Inside we see again smooth ashlars, the naked walls deeply connected to the imaginary of the interventions of the 20th. century had of medieval times. The crevices are there to let pass the necessary light to illuminate the little decoration on the nave as well as in the main chapel.

It was during a deep intervention that it was discovered the only remaining mural in this church, on the back wall. It is an image of Christ the Saviour flanked by St. John the Baptist and Saint James. Made at the beginning of 16th. century, the mural of Tabuado is a unique work, because is not known other work carried out by the same workshop.

Bridge of Arco

Travelling down a road, that looses it's tarmac, the Bridge of Arco. The bridge is surrounded by a lush landscape where the Ovelha River passes without a hurry.

Until the 19th. century was at the heart of the council of Gouveia. Currently connects the banks of two parishes, Folhada and Várzea of Ovelha and Aliviada.

It is a single-arch bridge, of large dimensions, on which stands a trestle deck, with it's guards.

Despite its Romanesque appearance, It is likely that its construction has been done in more recently, during which they continue to reproduce models that were of the middle ages. The fact that it's not use a broken arch indicates a later construction.

Where there is no doubt is in wanting to stay forever in this place and absorb the sounds of nature.

Church of Saint Mary of Jazente

The Church of Saint Mary of Jazente began as a monastic institution. In the 12th. century, the nuns and Abbesses were still documented. The construction of this temple should be in the last years of the 13th. century or early in the 14th. century.

The aspects connected with the "Romanesque of Resistance" are evident. The main portal does not display columns, or a big decoration, except a little opened cross, the corbels are smooth and have a foursquare profile. At the South portal we see five circular openings placed in cross and surrounded by a double circle item in granite.

Inside it reigns, again, the simplicity. In the last recovery intervention by the Route of the Romanesque, the walls gained a new life with the white paint that reflects and amplifies the light entering through the crevices.

Worthy of note is the triumphal arch that, although bended, looks more like a collapsed arch. In the chancel, "mudejar" tiles repeat a stylized floral motif.

In Santa Maria of Jazente is, also, you can see also the image of the Virgin with the Child, dating back to the second half of the 15th. century. Made in limestone, polychrome, this piece follows the parameters of the Gothic models, presenting the mother's devotion and the filial love with the boy touching her face.

Bridge of Fundo de Rua

Built where it is, today, the Village of Fundo de Rua, classified as must see village by the Village Tourism Association, the Bridge of Fundo de Rua was one of two paths that face the Marão mountain.

Constructed more recently, maybe in 1630 as stated on the base of the column on the left side, this bridge must have been built on the site where there must have been another one from the medieval times.

It is a stone bridge, supported by four unequal arches (yes, look closely, some are bigger than others), on which rests a slightly raised deck, above the higher arch. The pillars are protected, upstream, by sharp cutwaters, and downstream, by abutments.

The historical importance of this bridge is highlighted throughout the ages. It suffered the consequences of the French invasions in 1809 having been, later, immortalized in the novels of Camilo Castelo Branco.

The surrounding area is amazing and invites to take a rest. We can stretch for a few moments on the green mantle, or dip our feet on the fresh and calm waters of the river Ovelha. The bar, that should open only in summer season, is an asset for full enjoyment of this landscape.

Church of Saint Mary of Gondar

It is a small church dedicated to the Virgin Mary. Its foundation is linked to the "Gundar" lineage. This family controlled a large area in the surrounding region, on a geographical level, and social. This Abbey was the host location for the daughters of "Gundar" which later turned out to be converted to family Pantheon. The feminine order that frequented this area was extinguished by the Bishop of Oporto and delivered to the secular. The first parish priest, Pedro Afonso, was the responsible for bringing one of the most iconic pieces of this place (and that is now in the new parish church): Our Lady of the Chair, a statue in which the Virgin appears sitting breastfeeding her child.

The traces of the Romanesque present in this temple are proof of a late construction, at the end of 13th. century or early in the 14th. century. The main portal no longer presents any of the typical Romanesque ornaments. It has no columns, the archivolts are supported by linear structures and the tympanum is smooth. The only decorative element lies in the outer archivolt where is visible the tartan ornament.

Inside, the church is practically stripped. The grey granite walls and the floor is only interrupted by a mural that adorns the soffit of the niche of the back wall.

Don't miss the opportunity to visit the village of Ovelhinha, on the bank of the Fornelo River. This village of Portugal was burned down during the French invasions, keeping, even today, some houses then destroyed.

Church of the Saviour of Lufrei

Like many buildings belonging to monastic orders, so too the Church of the Savior of Lufrei was built in a fertile valley near the confluence of two small streams.

This temple is a testament to the Romance of resistance like others of this region. Free of decorative carved details, the Church of Lufrei is only illuminated by narrow crevices positioned at key points of the building: above main portal and above the transept and just one in each section of the nave. The corbels of quadrangular profile are smooth, testimony of the late construction, as well as the arrangement of the portals, that are inserted in the wall's thickness, without columns or tympanum.

Inside there are few traces, of the Romanesque, visible. We just feel the spirit of the Romanesque in this church through the crevices that illuminate the space in a tenuous way or by the dimension of the triumphal arch that closes down on the intimate chapel.

On the North wall of the nave we point out the fresco of St. Andrew, accompanied by a inscription that says 1608.

Church of the Saviour of Real

The Church of the Saviour of Real lives up to the name because it rises above the path that takes us there. Because it has no worship since 1938, when it was built the new parish church, it was in a state of advanced degradation that the Romanesque Route, in good time, contradicted with a full intervention.

The Church still has some traces of Romanesque, however, its late construction, maybe already in the 14th. century, explains the absence of a tympanum, on the main portal. The columns have capitals with barely voluminous sculptures and the two archivolts, in addition to being bended, have a frame. An adaptation of the Romanesque from Oporto that must have arrived through the monastery of Travanca (Amarante).

Before the intervention of the Romanesque Route, the interior featured a triumphal arch made with two archivolts. The stripped character of this church is accented by plaster coating that covers it entirely, standing out the Roman crosses, opened and inscribed in a circle.

The intervention that this church is having leaves us hopeful about its future and to the improvement of the surrounding area.

Monastery of the Saviour of Travanca

The grandeur of this monument can be seen and felt when coming down the road toward the valley. A granitic and austere building receives us near the military aspect tower.

The Foundation of the monastery has been traditionally attributed to Garcia Moniz (1008-1066), son of Monio Viegas, the Gasco, that is said to be the founder of the monastery of Vila Boa do Bispo (Marco de Canaveses). These two monasteries are, therefore, linked.

The power and wealth of the temple are well present in the medieval set, Church and Tower, being this one of the highest from medieval times in Portugal.

The main portal is quite ornate due to the archivolts with frames, influence of Romanesque from Oporto, from the bull shaped corbels supporting the smooth tympanums and a row of rectangular corbels that were added in a restoration carried out in the 1930. But what most distinguishes this portal is precisely the sculpture of its capitals, very protruding, small and delicate, considered the best in the region.

The church is lit by narrow crevices, and those that illuminate the central nave are more decorated, they even have columns that sustain diametric frames.

On the Inside the grandeur of the space contrasts with its closed aspect. We are before one of the most rhythmical spaces of the Portuguese Romanesque architecture. The arches, some with a perfect arc, some slightly bent, are supported on columns whose capitals are decorated to fulfil a catechetical function.

We ventured into the sacristy where was transferred the remaining sculpture and painting that was distributed over the lateral altarpieces. On the ceiling, panels show paintings of religious semantics.

Without doubt that this is one of the most impressive monuments of the Romanesque Route.

Monastery of Saint Martin of Mancelos

A large forecourt takes us to the facade of the monastery of St. Martin of Mancelos where a white figure, representing Saint Martin, watches us.

Located in fertile lands, this monastery already existed, at least, in 1120 according data from to documents of the pope Calisto II.

The first arch let us in to the galilee, that shows some signs of deterioration, but that add value to this temple. Even because there are not many monuments that still retain the galilee, or narthex.

The main portal presents four arches slightly bended that rest atop elegant capitals where the sculptures already denounce the incoming Gothic style, such as sting motifs, or vegetable motifs. The tympanum is supported by two corbels where two figures were carved, like carriers, one female, another male.

Inside are, again, ashlars made of granite, gray and smooth. There are three light-colored side altars and a painting of the Virgin of the Rosary, wrapped in a rim of roses. The chancel is dominated by a Johannine altarpiece that occupies the entire back wall where the gilt predominates.

We left through a side door for what would be the cloister. A vast and uncontrolled vegetation spreads through space on the other side of the wall and where the intervention is not permitted because it is private property. We climbed to an higher place in order to discover what hides the other side. The surprise is immediate. A rectangular cloister still keeps an old ornate fountain. Support houses, close the place while being swallowed by time. The idyllic space is there, just lacks the good sense to let it come back to life

Monastery of the Saviour of Freixo de Baixo

Water. You can hear water running as soon as you get to the Monastery of the Saviour of Freixo de Baixo. The place brings a peace and tranquillity only broken by the occasional passage of a car. We assumed that in 1120, date before which some think that this building was built, there wasn't this kind of problems, although this monument is located next to a road where, in the middle of the 18th. century much of the traffic between the Minho and Trás-os-Montes still was done.

The fountain that exists where it was the ancient cloister leads us around a grand monument, until we get to what's left of the galilee.

The church stands out for the different volumes of its bodies, but from Romanesque little else remains than the main façade and the foundations of the South side of the galilee, border that defines a square lobby.

The three arches portal is supported by columns whose capitals are decorated with vegetal and string motifs. The surrounding arch is decorated with threaded circles. On the right side, the bell tower rises towards the sky. It is still possible to see the mark that the bell rope did while being pulled over the centuries.

Within there is only a small granite pulpit on the right side. But by its side you can see a fresco. It is a scene of the Epiphany of the Lord, work assigned to the workshop led by Master of 1510, also responsible for paintings in Saint Mammes of Vila Verde (Felgueiras) and in Saint Nicholas of Canaveses (Marco de Canaveses).

Before we continue we went through the chancel where remains an altarpiece in Baroque style. One can see that this church suffered a deep intervention between 1941 and 1958 in order to return to Freixo de Baixo what was considered to be its "primitive style".

Church of Saint Andrew of Telões

The Church of St. Andrew of Telões is surrounded by the houses of the small village. Is an impressive building where stands out the Bell Tower, with three bells, at the top of the narthex. Behind it, a six-pointed rosette has the company of a contemporary watch.

The building, probably built at the end of the 12th. century or at the beginning of the 13th. century, has several visible scars as a result of the interventions and renovations made over the years. Doors and crevices that have been closed, windows that were opened... The abutments remain, to sustain the ceiling of the chancel. The main portal features arches without decoration and a plain tympanum supported by ribbed corbels which denotes an architecture of resistance.

Deeply transformed, it is at the head that are the remaining Romanesque features. On the triumphal arch the bases are rounded and evolved, the imposts have a late appearance and robust capitals depict vegetal themes

The church is richly ornamented with various modern-style altars. The mural is the highlight. It Depicts the Nativity on a previous layer, work that can be attributed to the workshop identified as the Delusional master of Guimarães, due to twists and gestures that emphasize the movement. Worthy of note is, also a last supper, depicted in bas-relief dating from the 18th. century. It is a magnificent work that appears to be a challenge to restoration professionals. We hope it lasts for a long time.

Church of Saint John the Baptist of Gatão

Gatão was a great opportunity to witness, live, the important work that the Route of Romanesque does for the monuments to gain the splendour of the past and to deliver them again to the community.

Until a few years ago it was cut by the romantic railroad of Livração (Marco de Canaveses) to Arco de Baúlhe (Cabeceiras de Basto), today it is a cycling road that runs through stunning scenery.

When we arrived was happening the recovery works of this church that was built during the 13th or 14th centuries.

Typically Romanesque feature is the cornice above little arches supported by slick corbels, influence of the See of Coimbra.

As we enter we heard music that seemed to us to be Baroque music played by a Harpsichord. On the wall of the transept, an artist was recovering a fresco representing the Martyrdom of St Sebastian. We stopped for a moment to observe the expertise and patient manner of how the work was done. On the left side is noticeable the fresco Coronation of the Virgin and at the top a representation of the Calvary.

The triumphal arch is composed of two bent but smooth and faceted archivolts and it is surrounded by a tartan frieze. The interior archivolt stands on two columns, that boasts two imposing capitals of vegetal and winding motifs.

In the chancel there are still two representations in good condition: on the side of the Gospels, Christ carrying the cross and, on the opposite side, Saint Antony of Lisbon.

On the back wall remains a crevice that illuminates the entire space. We turned around and walked out towards a new monument, not before a visit to the tomb of the great Portuguese writer Teixeira de Pascoaes, that rests in the cemetery in front.

Castle of Arnoia

Behold the only Castle belonging to the Romanesque Route. Although it takes an eye of Lynx to find it out through the forest that precedes it. We had to be almost under its shadow to see it.

We stopped, first, near the Interpretative Centre for the Castle of Arnoia, for a visit and prior explanation of several distinctive aspects of this monument.

The way to the castle's walls is done on foot, through the village of Castelo, considered a must see Village of Portugal. Known in ancient times as "Villa de Basto", was head of council until 1717. It had, even, a pillory, a pharmacy and a Hearings House at which we cut to the right to start our ascent.

With the houses at our feet, we entered a triangular shaped courtyard. Four elements compete to frame this castle in the Romanesque military architecture: the keep (brought by the Templar Order); the quadrangular Tower; the existence of a single port and the underground tank in the courtyard to, if it is necessary, resist to long periods of siege.

Built on top of a mountain head, the Castle of Arnoia has a panoramic view from where you can admire the ridges of Marão and Alvão, on the eastern side, and the ridges of Cabreira and Lameira, to the North and West. Easy to identify is the mountain Farinha, best known as Senhora da Graça, in the council of Mondim de Basto.

Church of Saint Mary of Veade

This time we began to visit the interior. A top floor stores objects that show the transformations that this church has suffered. The most drastic (and, maybe, less obvious) is that is in the wrong way around. To say the truth, is oriented in a manner opposite to all other. The reconstruction of 1732 forced a reorientation of the church, having being added a new chevet, now put the to West and bigger. It is built contrary to the rule in the canonical architecture.

Inside little remains of the Romanesque style. The entire space was changed to receive several side altars.

The main altarpiece put in sight all the splendour of Johannine or national Baroque. Here, the Eucharistic Throne is almost covered by a dome where hang two curtains held by angels.

To the full extent of the nave stretches a footer of cobalt blue on white background tile.

This temple has its origins in a small Hermitage founded on private property in the 13th. century it was linked to the family of Guedões. Before 1258 the Dean Garcia Alvites turned out to sell the church and all its houses to the Order of the Hospital.

Outside, the main portal, belongs to the Baroque era. The north portal is in a curious position, today almost in the middle of the facade due to the changes of the pavement.

At the South portal, you have to see the pair of mermaids with double tails that decorate the archivolts.

The surrounding space is quite nice, however, in a few years, the church of Saint Mary of Veade can have a bay right at its feet. With the construction of a new dam on the river Tâmega (if the building goes ahead) the South fields will be flooded, radically transforming the surrounding landscape.

Church of the Saviour of Ribas

The architecture of the Church of the Saviour of Ribas is still fairly well preserved on the outside although it was added a Bell Tower in the second half of the 18th century.

The ashlars do not bear markings that indicate interruptions or changes to the project and there is a great consistency in terms of decoration. Looks like it was built all at once.

Here reigns the pearl ornament. It can be seen in two main portal archivolts and decorate the wide gap above it, in the cornices on the main façade, on the triumphal arch and on the back wall of the chevet, as well as along the side of the nave and apsiole.

Inside, the grey walls, interrupted by small crevices, give space the side altars and the presence of images of Saints. In the nave stands out, as well, the dark colour of the ceiling.

In the chancel, the gilt prevails, however, on the back wall, behind the main altarpiece, it was identified an important mural where is represented the patron saint of the church.

We go back outside to walk through the well maintained garden and recover energy for the end of this second coming to the Romanesque Route.

Church of the Saviour of Fervença

We finished our second trip through the paths of the Romanesque Route, this time, along the Tâmega's Valley, with a surprise.

Apparently, this church has no connection with the Romanesque style. It seems, that it is very recent. Has we went round, we note the presence of a small row of sculpted corbels that sustain cornices, but only outside the main chapel. We looked with distrust for our guide which merely smile back while showing us the way in.

When we entered we couldn't avoid a collective exclamation. There it is, at the back of the nave, the reason for the Church of the Saviour of Fervença belong to the Route. The chancel, certainly built in the second quarter of 13th century. century, holds the granite commonly used in this part of the country. The triumphal arch is supported by columns whose capitals feature vegetal and sting motifs, all topped with Braga's palms at the imposts.

The nave is the result of a contemporary intervention, held in the decade of 1970. The whitewashed walls help to create greater contrast with the Romanesque chapel. The triumphal arch is surmounted by an tile composition of the Ascension of Christ. We highlight a typology characteristic of the 17th. century, the tile like a rug all the way throughout the footer of the nave.

The Church of the Saviour of Fervença may be strange at the beginning, but it's a great way to say farewell to the Route of Romanesque with a "see you soon".