The image of Senhora do Ó was transferred to the former Nª Srª da Piedade or Cais Chapel in 1821 when the Porta da Ribeira Chapel was demolished. The renamed building dates from the 17th century and was remodelled in the 19th century after the destruction that occurred during the liberal fights. Inside, a wood engraved retable of the early 18th century, by João da Costa, is worthy of mention.
The convent was founded in the late 16th century, in an area that belonged to the former Olival Police Force. The construction of the church began afterwards and lasted throughout the whole 17th century. The architect Diogo Marques planned it. Inside, the gilt carving retables are worthy or mention. The choir is decorated with a notable set of wood engravings, depicting the different stages of the life of St. Benedict.
Built in the 17th century, at Rua Escura, the fountain was transferred in 1940 to the place where it now stands. It comprises a tank and a background in which a pelican sided by two feminine shapes stands out. The Portuguese royal coat-of-arms crowns the whole.
Built in the late 18th century, the church is of Baroque style. The Ferro Shelter – formerly located at Rua Escura – moved here. According to an 18th-century author, the name of the shelter is due to an iron (ferro) that was placed across the door of the primitive church. The church was located near the old gaols and, according to tradition, the iron delivered from death the condemned that could reach it.
This is one of the oldest buildings in the city and the only remaining exemplar of the medieval civil architecture in the Barredo area. It is a five-storey construction, with two façades and a one-storey drop. The access to the front door is through outside stairs, as it was common in those days. In spite of the transformations it went through, the building may date back to the 13th century, judging by the typology of the still existing primitive windows.
The Suspended Bridge was inaugurated in February 1843, following a plan of the engineer Estanislau Bigot, who also directed the works. The bridge is inactive since 1887 and its only remains are the two granite piers (now incomplete) of the northern side, who used to sustain the suspended bridge. The ruins of the two-storey house of the military guard can also still be seen.
It was built in 1772 by the inhabitants of Postigo das Virtudes and was replaced by the present fountain in the late 17th century, in a neo-classical style. The fountain was fed by the Paranhos water spring, through Arca do Anjo and an aqueduct that supplied the Olival area.
The Nossa Senhora da Silva Brotherhood is housed in this building since the 15th century. The façade depicts, on the first floor, an 18th-century oratory with the images of Nª Srª da Silva, St. John the Baptist and St. Baldomero, protected by a wood engraving covering. The chapel of the brotherhood is located inside the building. Together with a lodging-house, it used to be managed by the blacksmiths, the coppersmiths and the makers of fishhooks of the city.
A low relief in bronze sculpted in 1897 by Teixeira Lopes (father), representing the Barcas Bridge tragedy, which occurred in 29 March 1809. When the city was under siege by the French troops of Marshall Soult, hundreds of people tried to escape by crossing the Douro River. They invaded the bridge that collapsed under their weight. Today, the inhabitants of Ribeira still pay tribute to the dead.
An interesting exemplar of the civil architecture of the late Middle Ages (14th century), this tower-house still has its original structure where new openings were later created. The area had other houses protected with towers, most of which are now gone. However, the façade of No. 59 still has the ground floor gothic windows and portals.
A 19th-century building that makes use of the previous constructions. The inverted main façade of a gothic building can still be seen on the northern exterior wall. Inside, several archaeological remains of the primitive Iron Age settlements (castro) as well as remains of roman and medieval constructions were found and preserved.
Around the Cathedral Hill stood the medieval primitive wall of the city, built in the 11th and 12th-century, on previous defensive alignments. The wall had several doors: Vandoma, S. Sebastião and Santana; and the Postigo da Mentira, later called “Porta das Verdades.” Only a few sections of the wall remain hidden under the houses, except for the section near Vandoma.
This building – whose terrace stands on of the towers of the 14th-century wall – was used as an old people’s home by the St. Bernard Congregation. A rich Porto merchant who then remodelled it bought it in 1834. The Oporto British Club was housed here after 1923. The club was a meeting point for the British community of Porto. Inside, the decoration of some painted ceilings is worthy of mention.
The House of the Dispatch was built in the mid-18th century to house some services of the Ordem Terceira de São Francisco. Nasoni was the author of the plan and of most of the interior wood engravings. The cemetery of the members is located on the underground floor. The temple, began in 1795, was the first neo-classical church in Porto. It was built according to a plan of architect António Pinto de Miranda. The interior decoration was the result of a co-operation of several renowned artists, such as painters Vieira Portuense and Teixeira Barreto, sculptor Sousa Alão; and the wood engravings and stuccoes of Luís Chiari.
Built in the early 14th century, it is one of the oldest residences in the city. Originally, the façade had two gothic doors and four gothic windows. Formerly the house faced a spacious square of the borough, which sided the ambulatory of the medieval cathedral.
The primitive building was built in the late 18th century by initiative of Francisco de Almada e Mendonça and following a plan by the Italian architect Vicente Mazoneschi. A fire destroyed it in 1908 and it was rebuilt three years later. The new theatre was planned by the architect Marques da Silva, and introduced some innovating details in the Porto architecture. For the first time, cement – in its natural colour – was used in the outside coating.
Ascribed to Nicolau Nasoni, this fountain dates back to the 18th century, and it presents an interesting frame comprised of a wrought iron rail and an encrusted marble relief on the top side of the water pipe. Giving the final touch to the whole, a small sculpture in Ançã stone represents the angel St. Michael.
The chapel was built the Barefooted Augustinian Order, housed at the Grilos Convent, whose coat of arms is displayed in the façade. It was part of a whole of oratories comprised in the Lord of the Paces procession, organised by the Order until 1832.
The church belonged to the Convent of the Shod Hermits of Saint Augustine. It was built in the 17th and 18th-century close to the old hermitage of S. João de Belmonte. It shows the influence of the Grilos Church, on the composition of its façade and on its interior ordering.
The palace was built in the late 18th century by the architect António Pereira. Pedro da Costa Lima, nobleman of the Royal House, who bore several offices in the city, such as Administrator of the Gold Carriage, lived there. The main façade and the interior noble staircase are worthy of notice.
The construction began in 1795, in a neo-classical style, and it ended in 1878. The initial plan, ascribed to Carlos Amarante, was later partially changed. Inside there is a painting remembering the Barca Bridge’s disaster.
Medieval tower-house, found during the demolitions of Terreiro da Sé in the 1940s. It was then completely rebuilt, on a different area. On the northern wall, a recently built gothic stone balcony can be seen. The City’s History Cabinet was housed here until 1960.
This architectonic whole was built between 1732 and 1763, by initiative of the Poor Clergymen Brotherhood. The plan was ordered to the Italian architect Nicolau Nasoni. The church’s façade is profusely decorated with baroque elements and the interior has rich wood engravings. The tower is regarded as one of Nasoni’s masterpieces thanks to its harmonious proportions and to its decorative richness, and it became one of Porto’s ex libris.
The church was built in the 16th century in mannerist style. It belonged to the College of the Society of Jesus and the frontispiece displays its symbol. Following the Jesuits’ expulsion it was sold to the Barefooted Augustinians, known as Grilos Friars, who remained there until 1832. Inside the retable of Nª Srª da Purificação, in gilt carving, and a beautiful panel in neo-classical style are worthy of notice.
Edifice built in the early 20th century, in the spot where the São Bento de Ave Maria Convent used to stand. Architect Marques da Silva was the author of the station plan. The spacious hall was totally coated with excellent tile panels by the painter Jorge Colaço, placed in 1916. The tiles illustrate the history of transportation, ethnographic scenes and famous events of the Portuguese History.
The building of the Santa Clara Church and feminine Convent dates from the early 15th century. In the Modern Age it went through several changes and the Renaissance portal was built. In the 18th century the façade was once again changed. The interior was covered in gilt carvings of the time and the work is regarded as one of the best of the Porto school of wood engravers.
The second cincture of walls started to be constructed by D. Afonso IV. It ended in 1376, in the reign of D. Fernando – thus the name “Ferdinand Wall.” The wall had four doors, protected with towers, and fourteen wickets. This section, restored in the 1920s, is presently the best preserved.
Built between 1785 and 1790, following a plan by the consul John Whitehead, inspired by the English neo-palladian style. The main façade, turned towards Rua do Infante do Henrique, has seven arches on the ground floor that make way to an exterior gallery that comes before the front entrance of the building. The façade ends with a platband, decorated with balusters and festoons. Inside, the staircase and its skylight, the ballroom and the monumental kitchen are worthy of mention.
The first building was constructed in the early 14th century, and was used as Royal Custom-House and as residence of the officers. Comprised of two towers with battlements separated by a central patio, it was the most important civil architecture building of the riverine area. According to tradition, Prince D. Henrique was born in this house in 1394. The Porto Mint was annexed to the building from the 14th century on. After great repair works in the 17th century, the Custom-House remained in the spot for more than 500 years
The monument was erected on the fifth centennial of Prince D. Henrique’s death. The construction began in 1894, in the presence of King D. Carlos, and it was inaugurated in 1900. Tomás Costa is the author of the plan. The statue depicts the prince dressed as a warrior by an Earth globe, symbolically pointing overseas. At the base, two allegorical sets represent the triumph of the Portuguese sea voyages and of faith.
The former medieval church was destroyed by a fire in 1758, having been rebuilt in a mixture of styles: classical and baroque. It is a temple of a single nave and inside the rococo carving, by Friar Manuel de Jesus Monteiro, is worthy of notice, as well as a panel by painter João Gama. It still holds the headquarters of the former Goldsmiths Confraternity.
The building was planned by architect João Carlos Machado (1885-1888) to replace the old Ribeira market. It represents one of the most important moments of the Porto iron architecture, and it is done with materials from the old “Companhia Aliança” foundry. Between 1939 e 1978 it was used as a fruit provision market. After a period of neglect, it was restored and it is used presently a recreational and cultural space.
The construction of the Stock Market Palace, headquarters of the Porto Commercial Association, began in 1842 where the old S. Francisco convent used to stand. The architect Joaquim da Costa Lima is the author of the plan. The hall that makes way to the Nations patio is covered by a glazed metallic structure. Inside the Palace, the “Arab Room”, inspired by the Alhambra Palace is worthy of notice, as well sculptures by Soares dos Reis and Teixeira Lopes.
The construction of the S. Francisco convent church began in the 14th century. It has the structure of a gothic temple, with reminiscences of the Romanesque style. The façade is worthy of mention thanks to its rose window and its portal, the latter built in the 17th and 18th-century in the baroque style. The interior is coated with gilt carvings of the same period. Worthy of mention is the retable of the Nossa Senhora da Conceição Chapel, representing Jesse’s Tree, sculpted in polychromatic wood, as well as the S. João Baptista Chapel, by the architect Diogo de Castilho, from the late 15th century.
The works of the Court of Appeal Court and Gaol began in 1765, by order of João de Almada e Melo. Eugénio dos Santos, one of the most renowned technicians under the Marquis de Pombal, was the author of the plan, in neo-classical style. With its odd shape, due to the available space between the Benedictines convent and the medieval wall, it was one of the most imposing buildings constructed in that time. The writer Camilo Castelo Branco spent some time in one of its cells.
The church was built in the late 16th century, but it went through several changes in the mid-18th century. The façade was then rebuilt following a plan by Nicolau Nasoni. Profusely decorated, it already shows the rococo influence. Inside, the high altar, still from the 16th-century building, is worthy of mention. The 17th-century tile revetment in the vestry is also remarkable.
The tower was built in the 14th and 15th-century and it housed the Town Council until it started to decay. The front entrance faced the Cathedral churchyard and it was one of the most important buildings of the medieval town, all in carved ashlar and decorated with merlons, being over 100 spans tall. The interior carpentry work and paintings are also remarkable thanks to their quality.
Building of the 12th century, in the Romanesque style. In the northern tower a low relief representing a 14th-century vessel symbolises the maritime vocation of the city. The Cathedral went through significant improvements in the gothic period and in the 18th century. Inside, the vestry, the cloister, the João Gordo chapel (with a notable gothic tomb), the Chapter House and the Sacred Art exhibition are worthy of mention. The Nicolau Nasoni paintings, the gilt carving altarpiece and the Blessed Sacrament silver altar, are from the baroque period.
The house was built in the 18th century as residence of a Cathedral canon, Domingos Barbosa. Of baroque style, the plan has been ascribed to Nicolau Nasoni. It has two wide and short angular towers, recalling the Portuguese 16th-century houses. Today, it shelters the art collections donated to the Porto City Council by the heirs of the poet Guerra Junqueiro.
The building of the primitive Palace dates back to the 12th and 13th-century. It was rebuilt in the late 18th century, becoming one of the most important palaces of the city. The plan is ascribed to the architect Nicolau Nasoni. The notable masonry work can be admired on the façades. The baroque staircase and a window from the old medieval episcopal palace can be seen inside.
The Square originates in an old medieval market. It was transformed in the 18th century, by initiative of João de Almada e Melo and with the support of the British consul John Whitehead. The western buildings that reach the intermediate platband, and the beautiful background fountain, on the side opposite to the river, are the only built elements of the new plan. The opening of Rua de São João, over the old riverbed of Rio da Vila, to connect the lower and the higher parts of town, also dates from this period. In 1821, the section of the Ferdinand wall that demarcated the southern side of the square was demolished.
Planned by the engineer Teophile Seyrig, the Luis I Bridge was inaugurated in 31 October 1886. It comprises two metallic platforms, sustained by a big iron arch and five piers. The upper platform is 391,25 meters long and the lower platform is 174 meters long.
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