082916 Azambuja to Santarém

This post is based primarily on Don's notes, occasionally supplemented with MT's notes from our Camino in 2016. When information from other sources is added—for further explanation to readers or to satisfy our own curiosity—that is set off in a text box (as this one).

Most of the photos that accompany this post are from Don’s camera (with a caption indicating the time it was taken); those from MT’s iPhone are indicated by “MT” placed at the beginning of the photo caption. Photos from any other source (such as the public domain Wikimedia Commons) indicate that source in the caption.

We awoke at 7:45 am and went to breakfast (continental) at hotel. We departed at 9:15.

As we went through the town of Azambuja, we checked on the Posto do Turismo (Tourist Office), but it was still closed.

Then we stopped at the same pharmacy that had been open on Sunday and bought a Benaderma com Calaminha cream for MT’s rash (€7.50). Again, the pharmacist was very helpful and spoke English. According to her, someone in a pharmacy was required to speak English (we found this useful several times later on the Camino, and often stopped at a pharmacy when we needed directions).

We stopped briefly at Igreja de Nossa Senhora da Assuncão (open) and went inside. Again, there was no one in the church we could ask for carimbos; so we got carimbos at the Casa do Municipio (city/municipality hall), which was across the street.

Azambuja: carimbo stamp from “Câmara Municipal de Azambuja” (City/Municipality Hall of Azambuja) with coat of arms of Municipality of Azambuja, erroneously dated 28 rather than 29 August.

Along the main street, we saw a blue-tiled building and another building with blue and red tiles across the street from it. (See Appendix B of this blog for more information about these azulejos.)

9:37 AM - Azambuja –blue-tiled building (view from right).

9:39 AM - Azambuja – building (across street) with red tiles on ground floor and blue tiles above (MT at bottom right); the tile sign above the door for “Gerardo José” indicates this is a private residence.

We had been told that the bus station in Azambuja was at the train station. When we went to the train station, the man at the ticket counter told us to go up the street (north) a bit to the bus stop and ticket office. We bought tickets to Santarém (€3.40 ea). The bus departed (on time) at 10:20 am.

We passed through many orchards (olive and some orange fruit) and vineyards.

When we arrived the bus station in Santarém at 11:20 am, the bus driver showed us how to find Hotel Umu, by following signs to the hospital, which was next to the hotel.

We arrived at Hotel Umu (3-star) around 11:50. The desk clerk gave us a photocopied map of the city.

Santrém: carimbo stamp for “hotel umu santarém_portugal” with three stars.

We walked back up Estrada de S. Domingos (the older town center was at the top of a rather steep hill) to the bus station and bought tickets to Fátima and return the next day (for a total of €28.80, with senior discount).

Santarém: carimbo stamp from “Rodoviária do Tejo, S.A.”

Rodoviária do Tejo, S.A. is a regional bus company serving the central west area of Portugal, including Santarém and Fatima.

Then we went to the (albergue) Santa Casa da Misericórdia to see if we could get carimbos there, but the office was closed.

1:02 PM – Santarém: Igreja de Jesu Cristo (left) and Santa Casa da Misericórdia. The street sign says to make a U-turn for Hostel Santarém.

1:02 PM (Cropped) – Santarém: Igreja de Jesu Cristo.

The Igreja de Jesus Cristo (Igreja do Convento de Nossa Senhora de Jesus do Sítio (Church and Convent of Our Lady of Jesus of the Site) is connected to Santa Casa da Misericórdia de Santarém (Holy House of Mercy of Santarém).

The church and convent, of the Third Order of St. Francis, arose in the first half of the 17th century until the early 18th century, following the Mannerist style. The façade defines the architecture, with two bell towers flanking three levels of windows and niches, bearing circular or triangular pediments.

The Santa Casa da Misericórdia de Santarém (Holy House of Mercy of Santarém) was founded in 1500. Its headquarters was originally in the Igreja da Misericórdia (see below), before its transfer to the Convento de Nossa Senhora de Jesus.

Then we tried Hostel Santarém and got carimbos and a better map there. (Unlike in Spain, where a hostal meant a bed and breakfast, in Portugal the term is interchangeable with albergue, meaning a hostel with beds in dormitories.)

Santarém: carimbo stamp from “Santarém Hostel – Santarém - Portugal”

Santarém: carimbo stamp from “in.Str” (in.Santarém) with “Santarém” also in circle.

The web site http://instr.cm-santarem.pt gives as contact Serviço Municipal de Cultura e Turismo (Municipal Service for Culture and Tourism).

Then we found the Posto do Turismo (Tourist Office), where the lady gave us another copy of the same map. We asked about a good, inexpensive place to eat (since only breakfast was included on our hotel voucher), and she showed us on the map how to get to Taberna do Quinzena on Rua Pedro de Santarém, which was just beyond the Mercado Municipal (City Market).

1:32 PM – Santarém: Mercado Municipal.

Tuesday, August 30, 2016, 1:32 PM – Santarém: Mercado Municipal – photo of part of mural in Santarém bus station showing azulejos over main entrance of City Market (telephoto 186-mm).

1:33 PM – Santarém: Mercado Municipal – azulejo panels with farm scenes on SW corner, with tile sign for Avenida José Saramago (Escritor = writer).

The Mercado Municipal (City Market) is both an historical site and a fully functioning local produce market. Prior to 1928, the market was run outdoors in various sites around the city; then, as now, farmers from the surrounding districts would come here to sell their produce. The new, covered market, designed by a famous architect, was finished in 1930, on the site of the old Chão da Feira (fairgrounds). The market is a good example of modernist architecture, but especially interesting because of its 19th-century tile panels all around the outer walls of the building. The 63 panels are perfect examples of the traditional blue-and-white azulejos tiles for which Portugal is famous. They show images of the surrounding Ribatejo region and its methods of production, its architecture, and nature. The tiles, produced in Santarém, are based on the historical and nationalistic taste of the time. In the first half of the 1930s, a “campanha azulejar” (tile campaign) swept Portugal, covering the walls of markets, railway stations, etc. with tile panels. The market is open every weekday until 12 and sells fruit, vegetables, fish, meat, and plants of the region.

 

MT 1:40 PM – Santarém: Mercado Municipal – Don between 2 azulejo panels with farm scenes on SW corner, with tile sign for Avenida José Saramago (Escritor = writer).

MT 1:41 PM – Santarém: Mercado Municipal – azulejo panel with scene of ship and boats on waterfront, on E side.

MT 1:43 PM – Santarém: Mercado Municipal – Don next to azulejo panels with farm scene on E side.

At Taberna do Quinzena, we both had the starter (appetizer, which came automatically): bread and olives €1.30) and Queijos Diver (cheese somewhat like parmesan, €3.00). They had no menu do día (menu of the day); so we had to order ala carte, For the main course, we both had Bacalhau ½ Posta (cod ½ slice, €9.00 ea). We ordered 0.5 liter Vinho (red wine, €1.40) and 2 bottles of water (aguas, €0.90 ea). For desert, we shared a Viennetta (ice cream cake, like we had eaten in U.S., €2.20). The total was €27.50.

1:37 PM – Santarém: Taberna do Quinzena exterior.

The Taberna do Quinzena (Tavern of the Fortnight) is a typical regional tavern that serves interesting dishes of the Ribatejo region in a bustling tavern atmosphere. Its décor of bulls and bullfighting motifs reflects the fact that the tavern was founded 144 years ago near the fields outside the village, where bulls awaited. In 2006, it opened in a new space in Santarém, smaller but with the same friendliness and quality. It is a very cheerful atmosphere, and there is a lot of attention to detail; the food is well cooked, nicely presented, and tastes great! The cod is also of the region. It is a busy restaurant, and reservation for lunch or dinner is advised.

MT 2:00 PM – Santarém: Taberna do Quinzena – 0.5-liter pitcher of wine (minus 2 glasses) and starters (bread, olives, cheese) that came automatically, before we ordered.

1:44 PM – Santarém: Taberna do Quinzena – menu and starters (bread, olives, cheese).

1:44 PM – Santarém: Taberna do Quinzena – menu page for “Grelhados de Peixe/Grilled Fish” including the “Bacalhau á Posta / Codfish Slice” (our receipt said “Bacalhau ½ Posta”) for 9.00€; the note at the bottom says the main dishes come with “Acompanhamentos: | Garnish: Batatas Cozidas e Leghumes | Boiled Potatoes and Vegetables.”

1:48 PM – Santarém: Taberna do Quinzena – assorted bred, olives, and cheese.

2:24 PM – Santarém: Taberna do Quinzena – Don’s bacalhau (cod) with boiled potatoes and broccoli.

2:24 PM – Santarém: Taberna do Quinzena – MT with her bacalhau (cod) with boiled potatoes and broccoli.

2:52 PM – Santarém: Taberna do Quinzena – interior with bull’s head, bullfighting décor, and bar with cans of soda on top shelf.

After our nice lunch, we headed toward the Cathedral. Before turning right into the Praça Sá de Bandeira, into which the Cathedral faces, we first saw the Igreja de Nossa Senhora da Piedade on the corner of that square, across the street from the Cathedral.

3:07 PM – Santarém: Igreja de Nossa Senhora da Piedade, across street from Cathedral (tower of S. Francisco Monastery at right; part of old city wall to right of church).

The Igreja de Nossa Senhora da Piedade (Church of Our Lady of Mercy) was built in the second half of the 17th century to commemorate the victory (attributed to Nossa Senhora da Piedade) of the Portuguese over the Spaniards in the 1663 Battle of Ameixial, during the Portuguese Restoration War. Legend has it that the people of Santarém, when they saw the Castilians approaching on the way to Lisbon, turned to a statue of Our Lady of Mercy in a chapel near the Porta de Leiria, so that Mary interceded and protected the Portuguese in the ensuing battle.

In the place where the church was erected, there was a primitive chapel, Capela de Nossa Senhora de Guadalupe (Chapel of Our Lady of Guadalupe), founded in 1611; that chapel was integrated into the new building, serving as the chancel. Also standing in this place was one of the gates of the medieval city wall, Porta de Leiria; the gate was built into the church walls, and there are still traces of the gate behind the altar of the chancel. The construction of the church began in 1664, during the restructuring of the Paço Real (Royal Palace), which stood on the site where the Cathedral is now located; it was completed in 1691. It was integrated into the Convento de Nossa Senhora da Piedade (Convent of Our Lady of Mercy) until the extinction of religious orders in 1834.

The façade is in the simple, austere, plain Mannerist style, and the interior, decorated with inlaid marble, is in the Baroque style; it is characteristic of the transition between those styles. The church, in the form of a Greek cross, has an octagonal center body surmounted by a dome topped with a spire. The main door is surmounted by the royal coat of arms.

3:51 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) and Igreja de Nossa Senhora da Piedade (at right).

MT 3:58 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição).

Then we went to the Igreja de Nossa Senhora da Conceição (Sé Catedral de Santarém) [Church of Our Lady of the Immaculate Conception (See Cathedral of Santarém)], which has been designated as a cathedral since 1975, when Santarém became a diocese separate from Lisbon. However, we could only enter the church if we paid €3 ea (senior rate) to visit the Museu Diocesano (Diocesan Museum). So we paid and found the museum quite interesting, with religious art from the area.

The Sé Catedral de Santarém (Cathedral of the Diocese of Santarém), aka Igreja da Sé (Church of the Diocese), was formerly known as Igreja de Nossa Senhora da Conceição do Colégio dos Jesuítas (Church of Our Lady of the Immaculate Conception of the College of Jesuits) or Igreja do Seminário (Church of the Seminary) and is still known as Igreja de Nossa Senhora da Conceição (Sé). It was built in the 17th and 18th centuries (1672-1711) by the Society of Jesus (Jesuits), over the ruins of the Paço Real (Royal Palace). It has a sober façade in the Mannerist style, in the form of an altarpiece, divided into 5 bodies (levels) with windows and decorative elements; niches hold the elect saints of the Society of Jesus, and at the top the patron saint of the church. Bell towers are absent, replaced by two large volutes and pinnacles. The interior has a single, very wide nave with 8 side chapels in the Baroque style. The beautiful marble work, gilded woodwork, and trompe l’oeil (perspective) paintings on the ceilings of the chancel and nave are worth the visit. The altarpiece of the chancel is of white marble and jasper, carved with inlaid polychrome, gilt, and twisted columns; the ceiling has a fresco painting alluding to the Senhora da Glória (Lady of Glory). Of the side chapels, the Capela da Senhora da Boa Morte (Chapel of the Lady of the Good Death), from 1740, with an altar of Carrara marble, is noteworthy. Also notable is the Capela da Senhora da Glória (Lady of Glory), with its gilded altarpiece in the “National Style” and a 16th-century low relief. The ceiling of the nave has an oil painting on wood, with the image of Nossa Senhora da Conceição (Our Lady of the Immaculate Conception) surrounded by decorative motifs, allegories, and biblical scenes. Its iconology alludes to the Jesuits, similar to that of the Igreja de São Roque in Lisbon. The English organ, located at the center of the high choir, dates from the 19th century (1835). After the expulsion of the Jesuits from Portugal in 1759, the building was expanded and housed a seminary until the creation of the Diocese of Santarém in 1975, when it was designated as the cathedral.

3:07 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – Port Santa (Holy Door), with special cover for Year of Mercy.

MT 3:15 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – Holy Door, close-up of its top.

MT 3:16 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – Holy Door, door and inscriptions beside it of Obras de Misericórdia Espirituais (Spiritual Works of Mercy).

0094d Santarém: carimbo stamp for Cathedral.

First, we visited the church.

3:17 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – nave from rear to apse.

3:19 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – right side altars (rear 3 of 4) and pulpit.

3:21 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – main altar.

3:21 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – nave from apse to rear, with organ in loft, with side altars at rear.

3:22 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – left side altars (front 3 of 4) and pulpit.

3:24 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – altar of Capela de Nossa Senhora da Conceição, second from front on right side.

3:24 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – altar of Capela de Nossa Senhora da Conceição on left side, close-up of image (telephoto 76-mm).

3:24 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – sign for Capela de Nossa Senhora da Conceição (in Portuguese [English translation in brackets]):

Data de 21 de abril de 1703 o primeiro contrato para a execução desta capela, celebrado entre um particular, de nome João Henríques, e o entalhador lisboeta Manuel Álvares. Na época, a invocação escolhida foi a do beato Estanislau Kostka, jovem jesuita falecido em 1568 e beatificado em 1605, que seria canonizado em 1727.

[The first contract for the execution of this chapel dates from the 21st of April of 1703, concluded between an individual by the name of João Henríques and the Lisbon woodcarver Manuel Álvares. At that time, the chosen invocation was that of the Blessed Estanislau Kostka, a young Jesuit who died in 1568 and was beatified in 1605, who would be canonized in 1727.]

Desde o primero quartel do século XX, o nicho principal acolbe a imagem de Nossa Senhora da Conceição, a padroeira da igreja e da Diocese de Santarém, criada em 1975. No pequeno nicho da predela encontra-se a escultura barroca de Santo António com o Menino.
[Since the first quarter of the 20th century, the niche in the main alcove has had an image of Nossa Senhora da Conceição, the patron saint of the church and of the Diocese of Santarém, created in 1975. In the small niche of the predela is the Baroque sculpture of St. Anthony with a boy.]
Com uma estructura retabular imponente, de planta cóncava, o altar releva levesa e movimento através de inúmeros elementos decorativos, nomeadamente os enrolamentos das folhas de acanto e outros motivos florais, aves Fénix, cabeças de anjos com asas coloridas, e colunas torsas movimentadas por cachos de uvas e folhas da videira. Um pequeno animal fantástico, o tritão, surge tambén representado sob o brilho dourado.
[With the imposing structure of an altar, in concave form, the altar is given lightness and movement through countless decorative elements, namely the use of the leaves of acanthus and other floral motifs, Phoenix birds, heads of angels with colorful wings, and twisted columns of bunches of grapes and leaves of the grapevine. A small fantastic animal, a triton, also appears, represented in golden brilliance.]

 MT 3:24 PM – Santarém: Cathedral (Igreja de Nossa Senhora da Conceição) – a shortened version of Psalm 136:1 “Give thanks to the Lord, for [he is good and] his mercy endures forever.”

Then we went on to tour the Museu Diocesano.

The Paço Episcopal (Bishop’s Palace) of the cathedral complex now houses the Museu Diocesano (Diocesan Museum), displaying the architecture and pieces of religious art that tell the story of the faith of the people of the Ribatejo region.

The pieces religious art on display were identified by placards in Portuguese and English. (The captions of the following photos include the English part, sometimes edited because the English translation on the placard was poor or differed from what the Portuguese said.)

3:28 PM – Santarém: Museu Diocesano – statue identified by placard as Santíssima Trinidade (Holy Trinity); Portuguese workshop, anonymous sculpture, in beige limestone, with traces of polychrome. 16th century (first half), Parish of Our Lady of Conception of Paialvo-Carrazede.

3:30 PM – Santarém: Museu Diocesano – statue of John the Baptist, identified by placard as São João Baptista (St. John the Baptist); Portuguese Workshop (Coimbra), anonymous sculpture, of full figure, in polychromed white limestone. 5th century (second half), Parish of St. John the Baptist, St. John of the Ribeira (São João Baptista de São João da Ribeira).

3:32 PM – Santarém: Museu Diocesano – another statue of Holy Trinity, with more of polychrome preserved, identified by placard as Santíssima Trinidade (Holy Trinity); Portuguese workshop, anonymous sculpture, of major importance [or of full figure], in polychrome painter beige limestone. 16th century, Parish of St. Matthew’s of Junceira (São Mateus da Junceira).

3:33 PM – Santarém: Museu Diocesano – crucifix identified by placard as Cristo do Mont’Iraz (Christ of Mont’Iraz); Hispanic work (Portuguese territory), sculpture in polychromed wood and cloth: cross in carved wood and gold (later). 13th century (end), Parish of Santa Iria da Ribeira de Santarém.

3:34 PM – Santarém: Museu Diocesano – pietá identified by placard as Nossa Senhora da Piedade (Pietá); 15th century, ca. 1460-1470, Parish of Santa Iria da Ribeira de Santarém, Church of Santa Cruz.

3:35 PM – Santarém: Museu Diocesano – second pietá; saw no placard, but www.museudiocesanodesantarem.pt identifies this as Nossa Senhora da Piedade: Oficina do Norte da Europa (?), escultura anónima, em terracota policromada, com base em madeira de pinho (posterior), século XVI, ca. 1575-1600; Paróquia de São Paulo de Salvaterra de Magos [Workshop of the North of Europe (?), anonymous sculpture, in polychromed terracota, with base in pine wood (later), 16th century, ca. 1575-1600; Parish of São Paulo de Salvaterra de Magos].

3:35 PM – Santarém: Museu Diocesano – azulejo tile scene identified by placard as Queda de Jesus a caminho do Calvário (Fall of Jesus on the way to Calvary; Attributable to Policarpo de Oliveira Bernardes (1695-1778), panel of azulejos painted in blue and white. 18th century (with subsequent alterations). Diocese of Santarém (Seminary of Santarém/Old Fund).



3:37 PM – Santarém: Museu Diocesano – another statue of Holy Trinity, identified by placard as Santíssima Trinidade (Holy Trinity); Portuguese workshop, anonymous sculpture of major importance [or of full figure], in polychromed white limestone. 15th century (end), Parish of Saint Martha of Alcanhões (Santa Marta de Alcanhões).

 

3:38 PM – Santarém: Museu Diocesano – statue identified by placard as Santa Iria, virgem e mártir (Santa Iria, virgin and martyr); Portuguese workshop (regional), anonymous sculpture, perfect figure [or full figure], polychromed oak wood, 17th century (end); Parish of Santa Iria da Ribeira de Santarém.

NOTE: As usual, Santa Iria is depicted as a nun; her raised right hand probably held a palm branch, a symbol of martyrdom. The name of the parish is also interesting, since the name of Santarém is also derived from Santa Iria.

3:39 PM – Santarém: Museu Diocesano – statue identified by placard as Santo António de Lisboa (Saint Anthony of Lisbon); Portuguese workshop, anonymous sculpture, perfect figure [or full figure], polychromed terracota. 17th century, Parish of Santa María da Serra e São João Batista da Pedrágãu.
NOTE: The saint normally known as St. Anthony of Padua was actually born in Lisbon and, therefore, is known in Portugal as Santo Antonio de Lisboa.

3:39 PM – Santarém: Museu Diocesano – painting of Santiago Matamoros, identified by placard as São Tiago mata-mouros (Saint James the moor-slayer); Portuguese workshop (regional), anonymous oil painting on wood. 16th/17th century, Parish of Our Lady of Expectation of Valada (Nossa Senhora da Expectação de Valada).

3:48 PM – Santarém: Museu Diocesano – picture of Cathedral on rapidly changing screen by ticket counter.

Then we headed southeast on Rua Serpa Pinto, a narrow street but a major shopping street in the old city.

3:58 PM – Santarém: building with blue tiles on Rua Serpa Pinto; MT at lower right.

Then we went to the Manueline Igreja Marvila (closed).

  

4:06 PM – Santarém: Igreja de Santa María de Marvila – tower and façade with main portal.

The Igreja de Santa María de Marvila (Church of St. Mary of the Miracle), aka Igreja Nossa Senhora de Marvila (Church of Our Lady of the Miracle) or just Igreja de Marvila (Church of the Miracle) is situated in the wide space (largo) formerly known as Praça Nova (New Square), where the City Hall was located in the Middle Ages. The square is now called Largo de Marvila.

The church dates back to the Christian Reconquista (Reconquest); after the first king of Portugal, Dom Afonso Henriques, reconquered the city in 1147, he gave the Knights Templar permission in 1159 to found a church here. The original church was probably based on an Islamic mosque. The name of that original church was Santa María de Santarém, but in 1244, it took the name Igreja de Santa María de Marvila, which came from a 12th- century image (now defunct) of Nossa Senhora das Maravilhas (Our Lady of Miracles), a designation that, by popular misrepresentation, generated the word Marvila. Following its Christianization, the church was completely rebuilt in the mid-13th century, then acquiring a Gothic appearance, of which very little remains today. However, the most striking intervention was carried out in the first half of the 16th century, when the church was enlarged and completely renovated. This reconstruction, completed in 1530, gave the church its current Manueline configuration; dating from this period are the main portal, interior arches, the apse, and the ancient tower. That reconstruction was followed by another, perhaps following the 1531 earthquake, which resulted in a total renovation of the interior with a Renaissance imprint. A new intervention, of a Mannerist nature, in the first half of the 17th century was carried out with the application of glazed tiles (azulejos) to all the walls of the spacious interior. In 1876, the Manueline bell tower, with a circular footprint and surmounted by a pyramidal spire with gargoyles, was demolished, making room for the current tower, integrated with the façade.

  

Santarém: Igreja de Marvila – main portal (commons.wikimedia.org).

Santarém: Igreja de Marvila – interior with azulejos (commons.wikimedia.org).

Despite being a church typical of the 1500s, the present church has features associated with the Gothic. Nevertheless, the structure and decoration of the 16th century and the coating of 17th-century tile make it both an important example of Manueline exuberance (of which the main façade and its main portal are key features) and the largest core of 17th-century tiles in Portugal, with more than 65,000 tiles inside. Thus, this church is a small museum of the history of Portuguese art, covering successive characteristics of various architectural styles, from Gothic to Baroque, through the Manueline, Renaissance, and Mannerism.

Since 1917, it has been classified as a National Monument.

See Appendix A of this blog for more information on Manueline style.

From the Igreja de Marvila, Don backtracked a bit down a side street to the Igreja da Misericórdia (Church of Mercy), also closed.

4:09 PM – Santarém: Igreja da Misericórdia – façade.

The Igreja da Misericórdia (Church of Mercy), also known as Igreja de Nossa Senhora da Visitação (Church of Our Lady of the Visitation), dates from the mid-16th century, when it was the original headquarters of the Santa Casa da Misericordia de Santarém. It is a “hall church” of the transition from Renaissance to Mannerism, including some elements characteristic of Rococo. It is an architectural example of the late Renaissance, with Tuscan columns decorated with grotesque elements. Nothing remains of the original façade, from 1606. The post-earthquake renovation of the façade, after 1755, reflects influences of the Baroque. The façade consists of two bodies. The first body contains the portico and three large windows of the choir, of which the one over the portico has a projecting balcony. The second body consists of the pediment with a robust architrave and a niche in the center containing an image of the Virgin.

We continued on to the far (east) side of the city, to the Porta do Sol (Gate of the Sun).

The Porta do Sol (Gate of the Sun) garden is a scenic viewpoint occupying the site of the original Roman forum and the Moorish citadel (Alcáçova de Santarém). In March 1147, Christian forces under the command of Dom Afonso Henriques captured the Moorish fortress in a surprise night assault, before advancing south to liberate more of Portugal. Currently there are only a few sections of the walls of Castelo de Santarém remaining, which include three towers crowned with battlements (overlooking the Alfange valley of the river Tejo), the Porta do Sol gate, and also the Porta de Santiago, through which the Caminho Portugués passes. At the time of the Reconquista, these were 2 of the 8 gates leading to the city of Santarém.

  

Castelo de Santarém: Porta do Sol (pt.wikipedia.org).

 

4:22 PM – Santarém: Porta do Sol – crenellated wall and corner tower.

 

4:23 PM – Santarém: Porta do Sol – view of city center from gap in west wall.

 

4:24 PM – Santarém: Porta do Sol – view of Tejo (Tagus) river to south, from corner tower.



4:25 PM – Santarém: Porta do Sol – view to left (north) of corner tower, including the Dom Luís I Bridge.



4:25 PM – Santarém: Porta do Sol – corner tower, with steps leading up to it.

 

4:26 PM – Santarém: Porta do Sol – MT at top of next tower.

 

4:26 PM – Santarém: Porta do Sol – MT at top of next tower (telephoto 54-mm).



4:29 PM – Santarém: Porta do Sol – view of river and cemetery from MT’s tower.

 

4:30 PM – Santarém: Porta do Sol – MT at top of steps to her tower.



4:32 PM – Santarém: Porta do Sol – view of river (and cemetery) over wall to left of MT’s tower.

 

4:33 PM – Santarém: Porta do Sol – MT viewing photos on her iPhone by her tower.

 

4:35 PM – Santarém: Porta do Sol – statue of Dom Afonso Henriques.

4:35 PM – Santarém: Porta do Sol – plaque by statue of Dom Afonso Henriques in Portuguese [English translation: Statue inaugurated on 19th of March 1999 by Her Excellency the Minister of Environment, Dr. Elisa Ferreira, representing the Prime Minister].

  



4:35 PM – Santarém: Porta do Sol – another plaque by statue of Dom Afonso Henriques in Portuguese [English translation: 850 years since the Christian Reconquest 1147-1997].

 

4:43 PM – Santarém: Porta do Sol – blue-and-white tile (azulejo) panel with scene of D. Afonso Henriques (center) and other Christian knights battling Moors in Reconquista (Reconquest) on bench near statue of D. Afonso Henriques.

 

4:36 PM – Santarém: Porta do Sol – view of river and cemetery from next tower to left.

 

4:37 PM – Santarém: Porta do Sol – view from that tower back to the right.



4:37 PM – Santarém: Porta do Sol – view from that tower of Dom Luís I Bridge and river to north.



4:39 PM – Santarém: Porta do Sol – view of many tiers of terraced wall below the tower at left of scenic overlook.

 

4:40 PM – Santarém: Porta do Sol – view back to that tower and its steps, from left.

 

4:41 PM – Santarém: Porta do Sol – view up steps to left, to next high point on wall.

After the overlook, we had to ask the operator of the bar in the Porta do Sol garden how to find the exit for the Camino, through the Porta de Santiago, since we had seen no arrows. He drew a crude map that showed us to go to the garden entrance and straight past Igreja Santa María de Alcáçova, down a narrow street and curve right.



4:56 PM – Santarém: near Porta do Sol – MT in passage leading to Porta de Santiago.



4:58 PM – Santarém: near Porta do Sol – view down path of Camino outside castle wall.

We had considered going down the footpath there and trying to find a shorter way to our hotel, but MT thought the steep, rocky path would be too hard in her flipflops.

 

5:02 PM – Santarém: near Porta do Sol – view down rocky path from Porta de Santiago.

  



5:06 PM – Santarém: near Porta do Sol – our first sighting of poppies on this Camino, at top of rocky path near Porta de Santiago.

So we went back the way we had come, except that after Rua Serpa Pinto we went straight on past the City Market toward Taberna do Quinzena and continued north to Rua Bernardo Santarena and Hotel Umu.

While Don had to rush to the bathroom at the hotel, MT went to the nearby Lidl store to buy fruit and 3 yogurts (€4.62 total).