Name of Monument:Church of St. Lourenço de Almancil Location:Faro, Parish of Almancil , Portugal Date:1730 Artists:Architect unknown; tile painter: Policarpo de Oliveira Bernardes (? 1695–1778); tile sales agents in Lisbon: António Borges, Manuel Borges; wood carver: Manuel Martins, whose dates are unknown. Denomination / Type of monument:Religious, pilgrimage church Patron(s):Reverend Doctor Manuel de Sousa Teixeira History:In the 18th century, the Algarve Bishops felt it necessary to increase the religious faith of the locals of Almancil. When water was discovered near a pilgrimage chapel dedicated to St. Laurence, it was seen as a miracle and a sign to rebuild the chapel. The patron of the church was the General Vicar of the Algarve Bishopric District, who also had responsibility for the Brotherhood of St. Lourenço dos Matos, his name and date (1730) are inscribed on the cupola tiles. Description:The Pilgrimage Church of St. Lourenço de Almancil is built on pure geometric volumes. Its sober façades with simple, shaped openings are bordered with local limestone. The roof is covered with clay tiles. The exterior, like the cupola, is painted white, influenced by Arab models. There are some cobalt-blue azulejos on the exterior walls. The baroque design of the churchyard and doorway are surprisingly elaborate. The Church of St. Lourenço (Laurence) of Almancil is an example of Portuguese vernacular architecture. Inside, the walls, ceiling and cupola are covered with cobalt-blue painted and glazed tiles. The walls are adorned with azulejos depicting the story of the Life and Death of St. Laurence. The ceiling and cupola are decorated with azulejos with Italianate architectural themes in perspective. The carved, gilt- wood high altar retable, in the shape of a pyramidal throne, has massive columns decorated with putti, angels, foliage and birds. How Monument was dated:Historical evidence Special featuresChurchyard and doorwayExterior 1730 Architect unknown The churchyard and stone doorway follow a precise architectural design, which is significant in the architectural context of this Church. By using an elegant Baroque design, the anonymous architect added a special status to a vernacular building. St. LaurenceInterior 14th century (?) Unknown local workshop Stone medallion from the medieval period that ornaments the outside sacristy door and is a vestige from the old chapel. The martyrdom of St. LaurenceInterior 1730 Policarpo de Oliveira Bernardes (?1695–1778) Cobalt-blue on white painted and glazed tiles, azulejos. The Italianate Baroque style of the painting is due to the interpretation of Italian prints by the artist. The Glory of St. LaurenceInterior 1730 Policarpo de Oliveira Bernardes (?1695–1778) Cobalt-blue on white azulejos decorate the vault. The quadratura setting shows an architectural perspective, di sotto in sù (“above from below”) at the centre of which is the image of St. Laurence being carried by angels to Heaven. Carved Wood and Gilded Retable (High Altar)Interior 1730 Manuel Martins [n.d.] Surmounted by a cupola covered with tiles, the carved wood and gilded retable or high altar was designed as an architectural structure and, in order to make the most of the available space is concave. The elevation, with Solomon Temple columns and a pyramidal throne, has steps to accommodate the image of St. Laurence. In the arched attic are two archivolts decorated with scrolls and angels. The topmost angel holds a grill, symbol of the saint's martyrdom. Selected bibliography:Smith, R., "The Portuguese Wood-Carved Retable 1600–1750", Belas-Artes, No. 2, Lisbon, 1950. Additional Copyright Information:Copyright images: Divisão da Cultura e História Local da Câmara Municipal de Loulé. Citation of this web page:Luisa Arruda "Church of St. Lourenço de Almancil" in "Discover Baroque Art", Museum With No Frontiers, 2024. https://baroqueart.museumwnf.org/database_item.php?id=monument;BAR;pt;Mon11;9;en Prepared by: Luisa Arruda
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