Versão portuguesa aqui.

GPS 38.53050584459859, -8.890131083204142

The image of Senhor do Bonfim was one of the most revered throughout the country in the seventeenth century. King D. João V himself, in 1711, visited Setúbal, fulfilling a promise he made when his father was sick, to that Image. Many devotees came to the chapel, settling in the adjoining inns. It was important as the beginning or terminus of processions, and it was also where the Via Sacra ended.

In the chapel, the 18th-century tiles, an image called Nossa Senhora dos Homens and painting from the same period, as well as baroque gilded carving, should be highlighted. After the 1755 earthquake, the partial reconstruction of the nave affected the upper part of the tile panels. This sanctuary is the origin of the very famous Senhor do Bonfim in the City of Salvador (Baía), in Brazil.

Description

Construction of the century. XVII.

Longitudinal plan, composed, volumes articulated by differentiated bodies, with vertical arrangement on the main facade and horizontality on the west facade; differentiated coverage in roofs of 2, 3 and 4 waters. Main façade facing south, composed of three panels; the main one delimited by corners, where the portico is topped by a triangular pediment and articulated with a large barred window topped by a small angular pediment; the finish is in pediment in circle segments; on each side of the gable, a pinnacle ending in a pine cone; side panels recessed at 0.: bell tower, with small lighting window; body divided by a pilaster, extremized by a corner, has on the ground floor a door and two crevices and on the 2nd floor a double-leaf window; the façade to the east has an altar with a triple marble cross *; on the 2nd floor there are two barred windows. To the N. of the church, making a corner with it, a two-story building, delimited by stonework corners. INTERIOR of a single space of a nave covered with a three-panel ceiling in tempera-painted wood with gold application, and a trapezoidal profile. High-choir based on two fluted columns, with a balustrade balcony. Illumination provided by the high-choir window and by windows on the 2nd floor on the epistle side. The floors are distinguished by a cornice frame. Walls fully lined with blue and white tile, figured. Deep chancel with an altar inscribed in an altarpiece-type façade, divided from the body of the church by a triumphal arch flanked by two side altars.

Versão portuguesa aqui.

GPS 38.53050584459859, -8.890131083204142

The image of Senhor do Bonfim was one of the most revered throughout the country in the seventeenth century. King D. João V himself, in 1711, visited Setúbal, fulfilling a promise he made when his father was sick, to that Image. Many devotees came to the chapel, settling in the adjoining inns. It was important as the beginning or terminus of processions, and it was also where the Via Sacra ended.

In the chapel, the 18th-century tiles, an image called Nossa Senhora dos Homens and painting from the same period, as well as baroque gilded carving, should be highlighted. After the 1755 earthquake, the partial reconstruction of the nave affected the upper part of the tile panels. This sanctuary is the origin of the very famous Senhor do Bonfim in the City of Salvador (Baía), in Brazil.

Description

Construction of the century. XVII.

Longitudinal plan, composed, volumes articulated by differentiated bodies, with vertical arrangement on the main facade and horizontality on the west facade; differentiated coverage in roofs of 2, 3 and 4 waters. Main façade facing south, composed of three panels; the main one delimited by corners, where the portico is topped by a triangular pediment and articulated with a large barred window topped by a small angular pediment; the finish is in pediment in circle segments; on each side of the gable, a pinnacle ending in a pine cone; side panels recessed at 0.: bell tower, with small lighting window; body divided by a pilaster, extremized by a corner, has on the ground floor a door and two crevices and on the 2nd floor a double-leaf window; the façade to the east has an altar with a triple marble cross *; on the 2nd floor there are two barred windows. To the N. of the church, making a corner with it, a two-story building, delimited by stonework corners. INTERIOR of a single space of a nave covered with a three-panel ceiling in tempera-painted wood with gold application, and a trapezoidal profile. High-choir based on two fluted columns, with a balustrade balcony. Illumination provided by the high-choir window and by windows on the 2nd floor on the epistle side. The floors are distinguished by a cornice frame. Walls fully lined with blue and white tile, figured. Deep chancel with an altar inscribed in an altarpiece-type façade, divided from the body of the church by a triumphal arch flanked by two side altars.