Places
of worship are ever-changing, living entities. A cathedral stands out due to
its visual and symbolic presence, distinguishing itself as a defining element
of its environs over the course of History and impacting the development and
growth of the city in which it stands. 

Moving Images Exhibition (Teaser) (2018)Faculty of Arts and Humanities of University of Porto

Signaling of the Saint James Way near the Porto's Cathedral. (2018) by Louise PalmaFaculty of Arts and Humanities of University of Porto

DYNAMICS OF THE SACRED SPACES

The place of worship as it stands today is a product of a 20th-century reading, which conceals myriad layers constructed over the course of time. The Exhibition centres itself in the mobility of the images, subjected to the transformations of liturgy, of architecture and of the urban space. Places of worship are ever-changing, living entities. The project centres itself on the mobility of the images, subjected to the transformations of liturgy, of architecture and of the urban space. The Porto Cathedral is viewed as a centripetal and centrifugal entity of the various types of worship that defined the history of Porto. The narrative is constructed – not by the totality of the Cathedral's heritage assets – but, instead, through the images that circulated within the premises of the Porto Cathedral and between It and the city itself.

Proposal for a representation of the missing altarpieces located in the Cathedral pillars. (2019) by Daniel CardeiraFaculty of Arts and Humanities of University of Porto

Until the 18th century, the pillars of the Cathedral were occupied by altarpieces dedicated to different saints.

After 1717, this dense apparatus was sacrificed to a more fluid and communicating church space; the altarpieces established on the pillars disappeared and new ones were made. This church is Romanesque in structure and has been continuously transformed.

Image of Saint James the Pilgrim, polycromed and gilded wood, 16th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

SAINT
JAMES |   FEAST
DAY – 25TH OF JULY

The 16th century image of Saint James the Pilgrim (Portuguese: São Tiago Peregrino) is a testimony of the importance and the popularity of the Jacobean cultus in Portugal. The sculpture is in accordance with the iconography of the pilgrim and possesses the recognisable attributes of a wayfarer: the cloak, the walking staff, the pouch and the hat with a scallop shell. 

Signaling of the Saint James Way near the Porto's Cathedral. (2018) by Louise PalmaFaculty of Arts and Humanities of University of Porto

The city of Porto was and remains a key point in the itinerary of pilgrims on their way to Saint James of Compostela (Portuguese: Santiago de Compostela).

To this day, pilgrims stamp, in the Cathedral, the “Compostela” , a credit document that proves the passage through the reference points of the path and gives them the quality of pilgrims to the tomb of St. James of Compostela.

Image of Saint James the Pilgrim, polycromed and gilded wood, 16th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

The protective nature of the scallop shell converted it into the main attribute of this saint and it remained as a symbol of the Jacobean tradition – pilgrims used it to drink water.

The sculpture is barefooted and on its hands rests a book, attributes that pertain to Saint James' condition of Apostle.

Old Cloister of Porto's Cathedral, also known as Cloister de los Naranjos. (2018) by Louise PalmaFaculty of Arts and Humanities of University of Porto

At the beginning of sixteenth century, St. James had a dedicated chapel, located in the old cloister.

Plan of the Cathedral indicating the different locations of the Saint James image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

In the seventeenth century, the image was worshiped inside the cathedral on its altar, established on the second pillar on the left-hand side of the church's entrance. In the eighteenth century was moved to the left side aisle of the Cathedral.

Notary Office, where is now despicted the image of Saint James. (2019) by Sara Almeida RochaFaculty of Arts and Humanities of University of Porto

Nowadays, the image is displayed on the Nottary office.

Image of Saint Apollonia, polycromed and gilded wood, 18th century. (2019) by Luís BravoFaculty of Arts and Humanities of University of Porto

SAINT
APOLLONIA |  FEAST
DAY – 9TH OF FEBRUARY

A virgin martyr of Alexandria, Saint Apollonia (Portuguese: Santa Apolónia) was tortured and had the entirety of her teeth violently pulled off, a detail that explains her main attribute – tongs holding a tooth between them.

For this reason, she is regarded as the patroness of dentists and is evoked against all manner of maladies concerning teeth.

Cathedral Treasure. (2018) by Pedro Augusto AlmeidaFaculty of Arts and Humanities of University of Porto

The Cathedral Treasure exhibits a reliquary of Saint Apollonia containing a tooth (on the left).

Saint Peter's Chapel (2019) by Diana FelíciaFaculty of Arts and Humanities of University of Porto

In the seventeenth century, there was an image of Saint Apollonia on the Saint Peter's Chapel in the church's transept, along with one of Saint Luzia.

Plan of the Cathedral indicating the different locations of the Saint Apollonia's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

In the eighteenth century, devotion turned to an altarpiece in the side aisle to the left-hand side of the church's entrance. The latter was dismounted during the great restoration campaign of the twentieth century. It is currently in storage.

Image of Saint Laurence, polycromed wood, 18th century (probably date) (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

SAINT
LAURENCE |   FEAST
DAY – 10TH OF AUGUST

Saint Laurence, whom according to the tradition was the brother of Saint Apollonia. Saint Laurence is called upon to intercede against fire and he is the patron saint of all manner of occupations that concern fire, such as firemen, coal sellers, cooks, bakers, glassmakers and clothing pressers. Worshippers would also abstain from lighting fires within their houses during his Feast Day.

He is represented as a young man clad in deacon's garbs...

his main attribute being a gridiron (held in his right hand), an allusion to the manner in which he was tortured

Plan of the Cathedral indicating the different locations of the Saint Laurence's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

This images was worshiped in the seventeenth century in the altarpiece on the right-hand side of the church's entrance, along with Saint Michael. In the second quarter of the eighteenth century, the image was moved to the left aisle of the church, along with its sister Saint Apollonia and Saint Cajetan.

Image of Saint Pantaleon, polycromed and gilded wood, 18th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

SAINT
PANTALEON |   FEAST
DAY – 27TH OF JULY

The worshipping of Saint Pantaleon's (Portuguese: São Pantaleão) in Porto began in mid-15th century. A 4th-century martyr, Saint Pantaleon, physician to Emperor Galerius, was subjected to a multitude of torture and ultimately beheaded for refusing to renounce his Christian faith. This saint is regarded by physicians and midwives as their patron saint and he is called upon by believers to relieve them of headaches. 

Saint Pantaleon was acclaimed as patron saint of the city in 1499 and part of his relics are transported from the Saint Peter's Church in Miragaia to the Cathedral.

Arménia Street, Miragaia, Porto. (2018) by Pedro Augusto AlmeidaFaculty of Arts and Humanities of University of Porto

According to the local legend, the saint's relics were brought by a group of Byzantium-born Armenians to the city, having arrived in Miragaia during a period in which an epidemic ravaged it – and one that was seemingly and miraculously eradicated by the arrival of the relics.

The place's toponymy still preservs the memory of said legend.

Reliquary box kept on the altarpiece of the main chapel, gilded wood. (2018) by Pedro Augusto AlmeidaFaculty of Arts and Humanities of University of Porto

A part of the relics is now kept on the altarpiece of the Cathedral's high chapel, stored in an 18th-century reliquary.

Reliquary box of Saint Pantaleon. (2018) by Pedro Augusto AlmeidaFaculty of Arts and Humanities of University of Porto

Saint Pantaleon's reliquary arm, silver, 16th century. (2018) by Pedro Augusto AlmeidaFaculty of Arts and Humanities of University of Porto

A bone from the saint's arm, is on display at the Museum of the Brotherhood of Saint Peter of Miragaia (Portuguese: Museu da Confraria de São Pedro de Miragaia).

Saint Pantaleon's reliquary bust, gilded silver, 16th century. (2018) by Pedro Augusto AlmeidaFaculty of Arts and Humanities of University of Porto

A reliquary box, from the Cathedral, is stored in the Soares dos Reis National Museum and also contains relics of St. Stephen, St. Euphemia and St. Clare.

Plan of the Cathedral indicating the different locations of the Saint Pantaleon's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

The oldest reference to the existence of an image of Saint Pantaleon dates back to the 17th century, being present on the altar of the Holy Trinity, located in the third pillar on the right-hand side of the church's entrance.

Saint Vincent Chapel (2019) by Diana FelíciaFaculty of Arts and Humanities of University of Porto

In the twentieth century the image was in the chapel of St. Vincent. Today the Saint Pantaleon is on the altar of Our Lady of the Manger, in the church's transept.

Image of Our Lady of Vandoma, polychromed limestone, 14th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

OUR
LADY OF VANDOMA |  FEAST DAY – 11TH
OF OCTOBER

Our Lady of Vandoma (Portuguese: Nossa Senhora da Vandoma) is the current patron saint of the city of Porto. The sculpture, carved from a block of limestone and standing at 187 cm in height, portrays Our Lady with Baby Jesus, a widespread typology during the Middle Ages. According to the local legend, the image was brought from Vendôme (France) in the 10th century by a regiment of Gascons that engaged the Moors in battle on that spot. The toponym Vandoma (a parish of Paredes) is, however, found in sources that predate the 10th century – which lead historians to speculate that the association between the Vandoma - Vendôme toponyms was created at a later period.

The formal characteristics of this image are incompatible with those present in images from the 10th century.

The child holds a goldfinch in his hand, symbol of the blood shed by Christ on the cross.

Old Gate of Vandoma's Archway, "Olhares sobre o Porto Medieval", Gravuras, nº 5.Faculty of Arts and Humanities of University of Porto

The image upon the altar was originally atop the archway of the Gate of Vandoma (Portuguese: Porta da Vandoma).

Current aspect of the location of the former Vandoma's archway.

Plan of the Cathedral indicating the different locations of Our Lady of Vandoma's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

After the demolition of the Gate of Vandoma's Archway, in 1855, the image was stored in Saint Vincent Chapel (Portuguese: Capela de São Vicente) and, in 1968, it was moved to the location in which it now stands.

Image of Ourl Lord Of Beyond, polycromed wood, 18th century., Pedro Augusto Almeida, 2018, From the collection of: Faculty of Arts and Humanities of University of Porto
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This altar was dedicated to Our Lord of Beyond (Portuguese: Senhor do Além), having at its centre an image of Christ on the Cross (which is now housed within the Notary Office).

Image of Our Lady of Sorrows ment to be dressed, polycromed wood, 18th century., Pedro Augusto Almeida, 2018, From the collection of: Faculty of Arts and Humanities of University of Porto
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Having at its feet the figure of Our Lady of Sorrows (Portuguese: Nossa Senhora das Dores), an example of an image that was meant to be dressed (currently in storage).

Image of Our Lady of the Battle, polycromed limestone, 14th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

OUR
LADY OF THE BATTLE

According to tradition, this image was brought to the city along with the image of Our Lady of Vandoma. The "Of the Battle" title was bestowed upon this image precisely because it aided, by miraculous means, the Christian soldiers in defeating the Moorish forces during that skirmish.

At the turn of the 16th century, a chapel was built by the Cimo de Vila Gate, where this miraculous image was venerated. Up until the 17th century it was frequently attired with clothes; however, during the 1600s, the image was refurbished with new garments – this time carved and painted in the stone itself – and it has remained as such up until the present day.

Chapel of Our Lady of the Battle (interior). (1900)Faculty of Arts and Humanities of University of Porto

In 1792, in the wake of the damages caused by the 1755 Lisbon earthquake, the chapel was demolished, and another was built near the spot where the original one once stood.

Image of Our Lady of the Battle, polycromed limestone, 14th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

The sculpture is modelled after the Virgin of Tenderness, an iconography that demonstrates the emotional bond between the Mother and the Son.

Plan of the Cathedral indicating the different locations of Our Lady of thr Battle's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

Following the demolition of the second chapel, the sculpture is given to the Postigo do Sol (an all-girls orphanage) and was later brought to the Cathedral.

Altar of Our Lady of the Manger, mid-20th century. by Teófilo RegoFaculty of Arts and Humanities of University of Porto

Until 1968 this image of Our Lady of the Battle was on the altar of Our Lady of the Manger.

Chapel of Saint John the Evangelist. (2019) by Diana FelíciaFaculty of Arts and Humanities of University of Porto

Is now despicted in Chapel of Saint John the Evangelist (Portuguese: São João Evangelista), adjacent to the cloister.

Image of Our Lady of the Bramble, polycromed limestone, 15th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

OUR
LADY OF THE BRAMBLE |  FEAST
DAY – FIRST SUNDAY OF JUNE

This
image of Our Lady of the Bramble (Portuguese: Nossa Senhora da Silva) is regarded as having miraculous powers –
so much so that the very material of which it is made is considered a relic –
and it is still the subject of frequent offerings and ex-votos (offerings in fulfilment of vows). A privileged intercessor,
she guides the souls and removes the thorn-filled brambles from the path they
tread to the Great Beyond.The designation "Our Lady of the
Bramble" stems from a legend that states that this image appeared amidst
brambles, in King Afonso I of Portugal's time, during the Iberian Reconquista (lit.
"Reconquest") period. In
the 16th century, the Porto's smiths' guild – one of the city's most prestigious metiers – chose this saint as
its patroness.

This image was probably dressed until the 17th century, when the sculpture was transformed;

its facial features and its garments were altered and it has remained as such until today.

The 19th century canvas used to cover the altar during Lent. (2018) by Pedro Augusto AlmeidaFaculty of Arts and Humanities of University of Porto

Amongst the most famous worshippers of this image we find Mathilda of Savoy, consort of Afonso I and Queen of Portugal and princess Mafalda, daughter of King Sancho I – the latter of whom bequeathed various personal articles of clothing and jewellery to the Cathedral.

The canvas – containing a painting by the Porto-born artist António José da Costa – over the altar was only unfurled during the Lent and depicts princess Mafalda's devotion to the miraculous image.

Plan of the Cathedral indicating the different locations of Our Lady of the Bramble's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

The earliest news concerning the image of Our Lady of the Bramble dates back to the mid-16th century. The documental sources describe the existence of two altars of the same invocation: one in a chapel of the Cathedral's cloister and another in an altar by the second pillar on the right-hand side of the church's entrance. The image will remain in this place until 1722, when it is transferred to the altarpiece where it stands today, executed between 1719 and 1720.

Cloister (2019) by Diana FelíciaFaculty of Arts and Humanities of University of Porto

Brotherhood of Our Lady of the Bramble, (Caldeireiros Street).

Brotherhood of Our Lady of the Bramble. (2018) by Pedro Augusto AlmeidaFaculty of Arts and Humanities of University of Porto

The headquarters of this brotherhood was moved in the eighteenth century to Rua dos Caldeireiros, where it still stands today, organizing its feast on the first Sunday of June.

Image of Saint Blaise, gilded, upholstered and polychromed wood, 18th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

SAINT
BLAISE |  FEAST
DAY – 3RD OF FEBRUARY

Saint Blaise (Portuguese: São Brás), one of the most venerated saints in all of Christendom,
died in 316 A.D., amidst the intense efforts to prosecute Christians led by
Emperor Diocletian. The Healer Saint, legends attribute to him myriad miracles.

The miracle of the saving the life of a child who had a fishbone stuck in the throat stands out.

Hence, Saint Blaise is called upon to intercede in cases of throat-related illnesses.

Circular shaped silver ex-votos, offered to the Saint. (2018) by R. CastroFaculty of Arts and Humanities of University of Porto

For this reason, worshippers present ex-votos (offerings in fulfilment of vows), made either of metal or wax and circular in shape, to the saint in his Feast Day

Plan of the Cathedral indicating the different locations of the Saint Blaise's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

The image stands on this altarpiece since the 18th century, after having had a dedicated altar in the cloister.

Image of Saint Lucia, polycromed and gilded wood, 18th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

SAINT
LUCIA |  FEAST
DAY – 13TH OF DECEMBER

Saint Lucia of Syracuse (Portuguese: Santa Luzia de Siracusa) was a 4th-century
martyr, a saint that is still prominently worshipped today. Because she refused
to renounce her faith in Christ and because she was viciously tortured, she
holds in her hands a palm leaf, the symbol of martyrdom, and sometimes a sword
– a symbol that harkens back to the manner in which she was executed –, a book –
a token of her wisdom –, and a small
dish with eyes, her foremost attribute.

Since her name, Luzia, means "the shining one" or "the one that irradiates light" (from the Latin word "lux", "light")...

it was associated early on with sight and, consequently, with the power to heal afflictions concerning the eyes.

Eye shaped ex-votos made in wax, offered to Saint Lucia in her Feast Day., R. Castro, 2018, From the collection of: Faculty of Arts and Humanities of University of Porto
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Her worshippers present the saint with ex-votos (offerings in fulfilment of vows) made from or containing precious metals, wax or painted to resemble eyes.

Eye shaped ex-votos made in wax, offered to Saint Lucia in her Feast Day., R.Castro, 2018, From the collection of: Faculty of Arts and Humanities of University of Porto
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Many gold and silver ex-votos were stamped, a technique consisting of obtaining a relief from a mold (bronze, iron or steel), which is pressed onto a metal plate through successive hammer strokes.

Stamping technique of ex-votos. (2019) by Pedro Augusto AlmeidaFaculty of Arts and Humanities of University of Porto

This process is still ongoing at the Fernando Martins Pereira & Ca. Lda Workshop, located in S. Cosme (Gondomar).

Plan of the Cathedral indicating the different locations of Saint Lucia's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

In the seventeenth century, an image of Saint Luzia was on the Saint Peter's Chapel, accompanied by Saint Apollonia of Alexandria. An altar dedicated to Saint Luzia is referred to in the eighteenth-century documental sources, situated on the aisle on the right-hand side of the church's entrance. The young martyr was along side the images of Saint Anthony and Saint Rodrigo, and their feast was in charge of the masons' brotherhood.These church's aisles altars were removed in the twentieth century during the National Monuments Restoration Campaign, and the image was moved to the altar of Our Lady of the Brable, where it is located today.

Image of Saint Anne, polycromed and gilded wood, 18th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

SAINT
ANNE |  FEAST DAY – 26TH
OF JULY

Mother to the Virgin Mary, Saint Anne (Portuguese: Santa Ana) is a saint that has been the subject of immense
veneration since the Middle Ages. The devotion to the saint is related to maternity, for
she is regarded as being the protector of parturient women, new-borns and,
along with Saint Joachim, she is also the patroness of grandparents. The altarpiece is completed with the depiction of the
"Flight into Egypt" episode, a theme that reiterates the family
values present in this altarpiece.

Extolled as the model of perfect wife, her role as mother and educator to the Virgin Mary popularised her portrayal as Saint Anne the Mistress.

The sweet, tenderly expression of her gaze permeates her worshippers and entices any and all observers to attentively contemplate the image.

Plan of the Cathedral indicating the different locations of Saint Anne's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

The documental sources place a chapel dedicated to Saint Anne within the cloister in the 16th century. The present altarpiece should have been executed after 1717, having been gilded, painted and the image again coated with color between 1720 and 1725.

Old Saint Anne's Archway, "Olhares sobre o Porto Medieval", Gravuras, nº 3., Manuel Macedo (desenhista) e Francisco Pastor (ilustrador), From the collection of: Faculty of Arts and Humanities of University of Porto
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The devotion of the city's inhabitants to Saint Anne is also further deepened by the consecration one of the gates of the mediaeval wall to the saint – a gate known as the Saint Anne's Archway.

Current aspect of the former Santa Anne's Archway site., Pedro Augusto Almeida, 2018, From the collection of: Faculty of Arts and Humanities of University of Porto
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Image of Saint Gonçalo, polychromed and gilded wood, 17th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

SAINT
GONÇALO |   FEAST
DAY – 10TH OF JANUARY

Saint Gonçalo of Amarante (Portuguese: São Gonçalo de Amarante) is one of the most popular blessed Portuguese individuals, having been beatified in 1561. Patron saint of travellers, of single women, of marriages at a late age, of clandestine, difficult or impossible romantic relationships, Saint Gonçalo is viewed as the protector of matters concerning love. The image of Saint Gonçalo was carved out of polychromed wood.  

The construction of the bridge of Amarante is attributed to him, which bestows upon Saint Gonçalo the role of protector of paths and the association between the saint and the pilgrimages to Saint James of Compostela.

Image of Saint Gonçalo, polychromed and gilded wood, 17th century. (2018) by Luís BravoFaculty of Arts and Humanities of University of Porto

The saint is attired in a Dominican habit...

and upon his left hand rests a book and he holds a shepherd's crook in his right – these being the saint's main attributes.

Plan of the Cathedral indicating the different locations of Saint Gonçalo's image. (2018) by Francisco CostaFaculty of Arts and Humanities of University of Porto

In the mid-sixteenth century we found references to the existence of an altar dedicated to the Holy miracle worker, location unknown. In the seventeenth century it is possible to specify its location: in the second pillar on the left-hand side of the church's entrance. The image is then moved in the eighteenth and nineteenth centuries.

Saint Roch's Chapel, located in Rua do Souto, demolished in 1877., From the collection of: Faculty of Arts and Humanities of University of Porto
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During the 18th century, the seat of the Brotherhood was transferred to Saint Roch's Chapel (Portuguese: Capela de São Roque), in the Rua do Souto (Souto Street).

Credits: Story

FICHA TÉCNICA | ABOUT THE EXHIBITION

COORDENAÇÃ E COMISSÃO CIENTÍFICA | EXHIBITION COORDINATORS AND SCIENTIFIC COMMISSION: Lúcia Rosas (FLUP/CITCEM) & Ana Cristina Sousa (FLUP/CITCEM)

CURADORIA | CURATORSHIP: Lúcia Rosas (FLUP/CITCEM), Ana Cristina Sousa (FLUP/CITCEM) & Diana Felícia (FLUP/CITCEM).

TEXTOS | TEXTS: Textos de Lúcia Rosas (FLUP/DCTP/CITCEM) e Ana Cristina Sousa (FLUP/DCTP/CITCEM) a partir da investigação desenvolvida pelos estudantes do 1.º ano do Mestrado em História da Arte, Património e Cultura Visual 2017/ 2018 (FLUP).

PRODUÇÃO E ORGANIZAÇÃO | PRODUCTION AND ORGANIZATION: DCTP/FLUP & CITCEM/FLUP

EQUIPA TÉCNICA | TECHNICAL TEAM: Diana Felícia e Pedro Augusto Almeida

PRODUÇÃO | PRODUCTION: Cecília Cardoso, Daniel Cardeira, Diana Felícia, Francisco Velho da Costa, Pedro Augusto Almeida, Sara Almeida Rocha e Vanessa Reis.

APOIOS | SPONSORS: Cabido Portucalense, FLUP – Faculdade de Letras da Universidade do Porto, CITCEM – Centro de Investigação Transdisciplinar Cultura Espaço e Memória, Reitoria Universidade do Porto, DRCN – Direção Regional de Cultura do Norte, MNSR – Museu Nacional Soares dos Reis, Confraria de São Pedro de Miragaia, Oficina Fernando Martins Pereira e Ca, Lda.

CRÉDITOS DE IMAGEM | IMAGE CREDITS:
Arquivo Histórico Municipal do Porto
Direção Geral do Património Cultural
Daniel Cardeira
Diana Felícia
Francisco Velho da Costa
Renato Castro
Louise Palma
Luís Bravo
Pedro Augusto Almeida
Sara Almeida Rocha

CRÉDITOS MUSICAIS | MUSIC CREDITS
Coro da Sé do Porto
Rui Teixeira

TRADUÇÃO | TRANSLATION: André Miguel de Castro

INDICAÇÕES BIBLIOGRAFICAS | BIBLIOGRAPHICAL INDICATIONS:

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AFONSO, José Ferrão (2008). A imagem tem que saltar ou o rebate dos signos. A cidade episcopal e o Porto intramuros no século XVI. Propriedade, ritual, representação e forma urbana (1499-1606), 3 vols. Barcelona.

AFONSO, José Ferrão; BOTELHO, Maria Leonor (2005). Projecto Porto Século XVI: A Sé e a sua envolvente no século XVI. Centro de Investigação em Ciências e Tecnologia das Artes. Universidade Católica Portuguesa. Porto.

AFONSO, José Ferrão (1998). A Rua das Flores no séc. XVI. Elementos Para a História Urbana do Porto Quinhentista. Porto, FAUP - Faculdade de Arquitectura da Universidade Porto.

ALMEIDA, Carlos Alberto Ferreira de (1979). “O Culto a Nossa Senhora, no Porto, na Época Moderna, perspetiva Antropológica”. Revista de História, vol. 2. Porto: Instituto Nacional de Investigação Científica.

ALMEIDA, Carlos Alberto Ferreira de (1968). Vias Medievais. Entre-Douro-e-Minho, Faculdade de Letras da Universidade do Porto.

ALVES, Joaquim Jaime B. Ferreira (1988). O Porto da época dos Almadas. Porto, Câmara Municipal do Porto, 2 vols.

ALVES, Sandra Maria Pereira Paiva (2001). A Antevisão do Peregrino na Iconografia de São Tiago no Caminho Português de Santiago entre Viseu e Chaves. Subsídios para a criação de uma rota turística. Dissertação de Mestrado em Turismo e Património no Departamento de Letras do Centro Regional das Beiras da Universidade Católica Portuguesa.

ANJOS, Fr. Luis dos Anjos (1999). Jardim de Portugal, (ed. Introdução e notas de FERNANDES, Maria de Lurdes Correia). Porto, Campo das Letras.

AZEVEDO, Carlos (1979). A cidade do Porto nos Relatórios de Visitas ad limina no arquivo do Vaticano. Porto, Universidade do Porto/Instituto Nacional de Investigação Científica.

AZEVEDO, Carlos Moreira (2016). Estudos de iconografia cristã. Lisboa, Fundação Manuel Leão.

BARROS, Amândio Jorge Morais (1993). “A procissão de Corpo de Deus do Porto nos séculos XV e XVI: a participação de uma confraria.” Revista da Faculdade de Letras. História, 2.ª série, 10, pp. 117-136.

BARROS, João de (1919). Geographia d‘Entre Douro e Minho e Tras-os-Montes [1549]. Porto, Biblioteca Municipal do Porto.

BRANDÃO, Domingos de Pinho (1987). Algumas das mais Preciosas e Belas Imagens da Nossa Senhora Existentes na Diocese do Porto. Porto, Diocese do Porto.

BRANDÃO, Domingos de Pinho (1984-1987). Obra de Talha Dourada, Ensamblagem e Pintura na Cidade e na Diocese do Porto. Porto: Diocese do Porto, 4 vols.

BOLETIM da DGEMN (1945-1946). Sé Catedral do Porto n° 40 a 43, Jun./Set./Dez. 45-Mar. 46.

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