CONTACT

Largo do Colegiais, 1
7000-803 Évora
Portugal

Telefone: 266 706 560 (cost of the call to national landline network)

Email: info@espirito-santo-evora.pt

Google Maps

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Visit

Schedule

DST summer : 9:00am > 18:30pm

DST winter : 9:00am > 5:00pm

Every day except December 25th, January 1st, Easter Sunday.

Accessible for reduced mobility.

Tickets

Adulto Sénior (>65 anos) Jovem (12 a 25 anos) Família (2 adultos + jovens) Escolas*
2,50 € 2,00 € 2,00 € 6,00 € 1,00 € / pers

*(Guided tours by teachers with prior booking by email).

Payments by cash, Multibanco and major Credit Cards.

Discover

NEW SACRISTY
MAIN CHAPEL
OUR LADY OF SUCCOR
OUR LADY OF THE ASSUMPTION
FOUNDER’S CHAPEL
SAINT SEBASTIAN
SAINT CATHERINE OF ALEXANDRIA
SAINT ANNE
SAINT ANTHONY
SAINT URSULA
SAINT JOHN THE BAPTIST
SAINT IGNATIUS OF LOYOLA
LORD OF THE WAY OF THE CROSS
OUR LADY WITH THE CHILD
CRUCIFIED CHRIST
GLORIFICATION OF THE VIRGIN

History

In 1551, Cardinal D. Henrique, the first Archbishop of Évora, took another step in pursuing a true apostolic and spiritual reform of his diocese by founding a Jesuit college in the city. A small church that existed in the heart of the cloister was replaced by this emblematic building between 1566-74, a fundamental landmark in the portuguese architectural style called chão and one of the first Jesuit churches in the world.

It is worth noting that some architectural similarities with the Church of São Francisco result from an expressed desire of the Cardinal-Infante to endow it with the same magnificence as that palatine church completed by his father, D. Manuel. For example, the inclusion of a galilee to protect the exterior entrance would prove to be a unique solution in the temples of the order.

Inside, the excellence of the entire artistic and devotional ensemble refers primarily to Jesuit spirituality. The high iconographic and symbolic value of the sixteenth-century mural painting, with particular emphasis on the entire composition of the ceiling of the new sacristy framing episodes from the life of Saint Ignatius of Loyola, is articulated with the enormous effect of the marble inlays, baroque altarpieces populated by figurative cartouches, allegories, emblems and inscriptions, or the original pulpit in lioz limestone and bronze, underlining the vocation of those priests for preaching.

On the other hand, the existence of pieces related to other devotional affiliations refers to later events. In a first moment, resulting from the expulsion of the Society of Jesus from the country and the transfer of the church to the Third Order of Saint Francis (1776-1834), and then, as a consequence of the extinction of the Religious Orders, the attribution of its tutelage to Casa Pia (1836-1957), having finally been handed over to the Archdiocesan Seminary in 1959.

Currently the pantheon of the archbishops of Évora, according to a tradition initiated by the Cardinal-King who chose it as his last resting place, even though he was not buried there due to unexpectedly ascending to the throne of Portugal, it hosts three illustrious Évora archbishops: Frei Manuel do Cenáculo, D. David de Sousa, and D. Maurílio de Gouveia.

The 2020-23 rehabilitation work, in addition to enabling public access to previously reserved spaces, has restored the fullness of the Church of the Holy Spirit, notably in the valorization of its historical and liturgical dimension, returning important examples of mural painting or the complete restoration of a valuable nineteenth-century organ by Aristide Cavaillé-Coll.

Cult

Mass schedule

Every day except Fridays and Saturdays: 7:15pm

Vespers: 6:30pm

Sacristia Velha e Nova

Inaugurada em 1575, a primeira sacristia desta igreja serve de antecâmara para a que foi construída anos mais tarde, 1596/99. Destaca-se por ser o lugar onde está a sepultura do emblemático Arcebispo Frei Manuel do Cenáculo, cuja actividade bibliófila se fez sentir no país e na cidade, e a quem devemos não só a extraordinária Biblioteca Pública de Évora como importantes colecções do Museu Nacional a quem empresta o nome.

A Sacristia Nova é uma impressionante sala de grande valor artístico e iconográfico, desde logo pela pintura mural da abóbada, onde se mostram diferentes episódios da vida de Santo Inácio de Loiola. De ressalvar que o fundador dos jesuítas só foi canonizado em 1622. Estão inseridos numa densa composição que articula uma diversidade de motivos ainda de sabor classicista, pintados, com reservas de florões rectangulares em alto relevo.
Para além de alegorias bíblicas, note-se que estão representados alguns animais então considerados exóticos, como o pavão ou o peru, introduzido na Europa apenas no século XVI, figuras de diferentes povos, ou pormenores chineses que aqui aparecem pela primeira vez na pintura portuguesa.
Nos tímpanos três episódios de grande importância na história da Companhia de Jesus: sobre a porta de entrada o Papa Paulo III concede a Regra a Santo Inácio; a ladear o óculo na parede oposta, o Rei D. João III recebe as cartas de fundação da Companhia pela mão de São Francisco Xavier e de Simão Rodrigues de Azevedo (1540); O Cardeal D. Henrique recebe os primeiros jesuítas que chegaram à cidade (1551).
Notáveis são também os azulejos de ponta de diamante, em arranjo pouco frequente, o lavabo de mármore ou os paramenteiros de madeira exótica.

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Capela-mor

Retábulo maneirista em talha dourada com quatro nichos destinados aos principais santos da Ordem: Santo Inácio de Loiola e Francisco Xavier; São Francisco de Borja e São Luís Gonzaga. No corpo central o sacrário, um notável exemplar de estrutura arquitectónica com a imagem em alto relevo de Cristo Ressuscitado na porta, e ao alto uma tela de Teixeira Barreto que representa O Cristo das Crianças. Datável de 1780, oculta a tribuna para exposição do Santíssimo.
Este altar foi atribuído por Francisco Lameira ao mestre entalhador Sebastião Vaz e deverá datar de cerca de 1631, a avaliar pela data presente nos azulejos padrão que revestem as paredes laterais. Ambos os painéis exibem intrincada decoração de época e, ao centro, a representação do Espírito Santo e das armas do Cardeal D. Henrique.

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Capela de Nossa Senhora do Socorro

Retábulo de c. 1704 coincidente com uma nova sagração do altar a Nossa Senhora do Socorro, uma imponente imagem da Virgem Mãe na tribuna, que olha carinhosamente para o Menino Jesus e é elevada por cinco querubins.
Altar estruturado por quatro colunas salomónicas, profusamente decorado com cachos de uvas, aves, flores, folhagem. Destaque para o Sol resplandecente em cartela no ático, sacrário com cruz envolvida por pâmpanos e figuras exóticas, ou nas mísulas laterais suportadas por pássaros. Levam respectivamente as imagens de uma Santa não identificada e outra de Santa Cecília, a padroeira dos músicos.

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Capela de Nossa Senhora da Assunção

Retábulo de c. 1702 em talha dourada, dedicado a Nossa Senhora da Assunção. Acompanham-na, nas mísulas laterais, São Pedro Apóstolo e São João Evangelista que segura o seu Evangelho aberto e onde se lê: IN PRINCIPIO ERAT VERBUM (No princípio já existia o Verbo (Jo 1-1).
Altar estruturado por quatro colunas salomónicas, profusamente decorado com cachos de uvas, aves, folhagem, cartelas, figuras exóticas e anjos. Destaque para o tramo central dominado pelo Sol nascente, num escudo do ático, e na sua forma radiante no sacrário encimado por anjos, que quase se confundem e auxiliam os cinco querubins que elevam a imagem da Virgem e lhe precisam a invocação.

Capela do fundador

O Cardeal D. Henrique destinou este braço do transepto para sua capela funerária, projectada em estilo clássico, onde na respectiva arca tumular se lê (tradução do latim segundo Túlio Espanca):
HENRIQUE, FILHO DO INVICTISSIMO REI DE
PORTUGAL, D. MANUEL, E DA PIISSIMA RAINHA
D. MARIA: CARDEAL DA SANTA IGREJA ROMANA;
PERPETUO LEGADO À LATERE DA SÉ APOSTÓLICA;
INQUISIDOR GERAL NESTES REINOS; O QUAL,
DE ARCEBISPO DA AUGUSTA BRAGA, POR JUSTAS
RAZÕES, FOI ELEITO PRIMEIRO ARCEBISPO DE
ÉVORA, E DEPOIS DE LISBOA, TORNANDO OUTRA
VEZ A SER DE ÉVORA, E COMENDATÁRIO DOS
MOSTEIROS DE ALCOBAÇA E DE SANTA CRUZ
DE COIMBRA; PRINCIPE EXCELENTE E DIGNO
DE UNIVERSAL MEMORIA; VIVENDO AINDA,
ESCOLHERA ESTE LOGAR PARA SUA SEPULTURA,
PORQUE ONDE , POR FAVOR DO CEU, PROCUROU
A SALVAÇÃO DAS ALMAS ALHEIAS, CRIA E
ESPERA ELLE, COM RAZÃO, TER PROPICIO AO
ETERNO DEUS PARA SUA ALMA, COM OS CON-
TINUOS SACRIFICIOS E ORAÇÕES DAQUELES QUE
EM TODO O TEMPO SE LHE MOSTRARÃO AGRA-
DECIDOS.ELLE MESMO, POREM, SENDO DEPOIS
REI, FOI OBRIGADO A MANDAR-SE SEPULTAR
JUNTO DE SEUS PAES E IRMÃOS.
Ainda assim, determinou o último rei da dinastia de Avis que ali fosse recolhido um fragmento do seu calcanhar. Aos pés do túmulo jaz o sobrinho D. Duarte, que morreu em 1576, em cripta aberta com a licença do Cardeal Rei.

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Capela de São Sebastião

Retábulo em talha dourada da mesma tipologia e ciclo oficinal do anterior, levando na tribuna a imagem do padroeiro, de concepção amaneirada e talvez ainda da centúria anterior, em representação convencional: desnudo e manietado a um tronco enquanto sofre o martírio das setas. Nas mísulas laterais dois bispos não identificados.
O frontão de empena curva recortada, centrado por grande cartela envieirada com reserva estofada a sugerir tecido lavrado, é encimado por putti que seguram grinaldas e, nas empenas laterais do entablamento, anjos de vulto perfeito.
No pavimento cripta destinada aos Arcebispos de Évora, fechada por lápide com inscrição referente a D. David de Sousa e a D. Maurílio de Gouveia.

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Capela de Santa Catarina de Alexandria

Diversos episódios se destacam na lenda desta Virgem Mártir, talvez o mais interessante no contexto desta igreja seja o de Santa Catarina discutindo com os Doutores de Alexandria, que lhe valeu o patronato dos filósofos, teólogos, estudantes, universidades.
O retábulo terá sido executado em 1722 e dourado quatro anos mais tarde, concretizando um exemplar mais avançado do estilo barroco que os precedentes. É definido por dupla colunata do tipo salomónico com mísulas entre pilastras, onde se expõem duas imagens de Nossa Senhora, nos topos; São Joaquim e São Gregório, nas mais próximas da tribuna.

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Capela de Santa Ana

O altar consagrado em 1721 conserva toda a profusão de elementos policromados e dourados em intrincado arranjo, de que destacamos o triplo ramo de rosas da cartela superior, símbolo mariano por excelência.
Coincide o retábulo com o auge do culto a Santa Ana em Portugal, aqui numa variante iconográfica em plena conformidade com uma das principais vocações dos padres jesuítas. Dedicada a um tema ausente dos Evangelhos, canónicos e apócrifos, a Educação de Nossa Senhora vem normalmente transposta nestas imagens de Santa Ana Mestra, que leva na mão um Livro (Sagradas Escrituras) por onde ensina a jovem Maria a ler.
Nas mísulas laterais, de secção bolbosa, estão outras duas imagens: um Santo Papa não identificado e São Vicente de Ferrer.

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Capela de Santo António

O retábulo em talha dourada, de c. 1715, pertence ao ciclo oficinal da capela anterior. É estruturado por colunas torcidas e pilastras decoradas com aves, cachos de uvas e parras, folhagem e flores. Estes elementos, animados por apontamentos de policromia, têm correspondência no frontão de colunas concêntricas fechado por cartela barroca.
Na tribuna representação convencional de Santo António, com o Menino Jesus de pé sobre um livro que segura na mão esquerda e, em mísulas laterais suportadas por pássaros, Santo Amaro e Santo beneditino não identificado.

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Capela de Santa Úrsula

Data de 1715 o retábulo em talha dourada feito para acolher uma das grandes criações hagiográficas medievais, a história de Santa Úrsula e das suas Onze Mil companheiras. O impressionante martírio da princesa Bretã, e de toda a sua comitiva, vem por um lado apresentado na cartela barroca que encima o frontão – uma coroa com duas palmas e, de forma mais evidente, na seta que lhe trespassa o pescoço. A imagem é enquadrada por um original painel de talha onde o resplendor tem acantonados querubins.
As laterais do sotobanco e a mesa de altar, como na restante série de capelas neste lado da nave, são decoradas por pintura de fingimento a imitar embrechados e, nas paredes e tecto, pintura mural de arquitecturas.
Possui uma arca tumular lisa, que parece conter as vísceras de um Marquês de Abrantes.

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Capela de São João Baptista

Possui o mais antigo retábulo da nave, com características maneiristas talvez ainda dos finais do século XVII. No altar de planta direita, que inclui cartelas iconográficas, abre-se ao centro um nicho de secção circular com cobertura envieirada, onde se expõe a imagem de São João Baptista, rodeado por três edículas de menor profundidade destinadas às imagens de Santo Franciscano não identificado, Nossa Senhora da Conceição e Santo Jesuíta.
No banco, 14 pequenos nichos destinavam-se relicários, dos quais sabemos a tipologia de dez: quatro meios corpos e seis braços.
Para além da pintura a simular embrechados e dos vestígios de pintura mural comuns a outras capelas, tem painéis de azulejo padrão nos alçados laterais.

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Capela de Santo Inácio de Loiola

Totalmente coberta com painéis de talha dourada e policromada, de embrechados marmóreos, de pinturas de fingimento, esta capela foi patrocinada em 1715 por Bento de Lemos que depois ali foi sepultado.
As características e excepcionalidade da capela dedicada ao fundador da Companhia de Jesus determinaram, logo por aqueles anos, ter sido considerada sem outro paralelo na cidade, aliás como o é todo o conjunto desta igreja, e talvez tenha servido de inspiração à actual de Nossa Senhora com o Menino.
Entre anjos, aves e pâmpanos; folhagens, grinaldas, conchas e capulhos, destacam-se a profusão de emblemas figurados com temas religiosos e da esfera jesuíta, a revestir o tecto e alçados ou, no eixo do retábulo, as duas cartelas verticalmente opostas, escudadas por anjos-tenentes, contendo um sol e, a outra, a sigla IHS inscrita num coração.

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Capela do Senhor dos Passos

Capela totalmente revestida com apainelados geométricos em mármore de diferentes cores, encomendada para o Convento da Graça pelo 1º Marquês de Abrantes para servir de capela funerária à esposa, Isabel de Lorena. Foi terminada em c. 1708 e ainda mantém, atrás da mesa de altar, a correspondente lápide funerária.
Em 1789, ali foi instituída a Irmandade do Senhor Jesus dos Passos que, após o Decreto de Extinção das Ordens Religiosas (1834), conseguiu trasladar toda a capela e demais pertences para este lugar.
Deste modo se explica a grande disparidade relativamente ao perfil das outras capelas deste notável conjunto jesuíta, bem como a presença das imagens de vestir do Senhor dos Passos, Nossa Senhora e São João Evangelista, mas também um certo despropósito no tamanho e padrão de embutidos da mesa de altar.

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Capela de Nossa Senhora com o Menino

Capela datada de c. 1725 caracterizada pelo enorme efeito visual procedente do integral revestimento das paredes, tecto e arco de entrada, onde para mais existem dois confessionários integrados no vão da parede. Eleva a outro nível os trabalhos em mármore e marcenaria artística, designadamente nas dezenas de painéis relevados com cenas iconográficas e inscrições latinas. Nas palavras de Túlio Espanca, mostram-se inúmeros elementos intencionais ou simbolistas, medalhões sagrados e atributos da Astronomia, onde se concebem alegorias da expansão missionária da Companhia de Jesus através dos ramos do Saber Universal.
Complementam o conjunto coloridos painéis de embutidos, a pintura dos confessionários a simular embutidos, os quatro atlantes sobre aves e as cariátides de mármore que ladeiam respectivamente a tribuna e a mesa de altar.

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Capela de Cristo Crucificado

Data de 1707/8 o retábulo em talha dourada desta capela, feito especificamente para a imagem seiscentista de Cristo Crucificado. Ocupa toda a tribuna, enquadrada por um resplendor em mandorla cujos raios se desenvolvem num fundo de nuvens estilizadas pontuadas por Querubins. Em baixo uma bonita vista da Jerusalém Celeste. Diversos instrumentos do Martírio do Redentor estão presentes: no fecho superior, uma coroa de espinhos e três cravos e, lateralmente, na base do altar, o martelo e a turquês.
As laterais do sotobanco e a mesa de altar são decoradas por pintura de fingimento, a imitar embrechados, e nas paredes pintura mural de pendor arquitectónico.

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Capela da Glorificação da Virgem

A capela ficou pronta em 1575 e está conforme a do outro lado do transepto, com duas colunas toscanas e quatro nichos em mármore branco. A invocação advém-lhe da representação em alto relevo da Coroação da Virgem, num medalhão oval presente no tímpano do retábulo, cujo contrato foi ajustado com o mestre Francisco Machado em 1703.
O aspecto actual da capela resulta de diversas campanhas decorativas que hoje se materializam numa profusão de elementos. Articulam-se os trabalhos de pintura mural nas paredes laterais e tecto – em intrincada malha colorida ao gosto do século XVII; com o revestimento em talha dourada e policromada de grande valor estético, artístico e simbólico – impressiona pela qualidade, quantidade e detalhes na concepção de painéis, figuras de vulto e relevadas, inscrições, emblemas; três pinturas: Última Ceia – atribuída por Vítor Serrão a Vasco Fernandes (1501/43); Pentecostes e Calvário (século XVII); conjunto de imaginária: Nossa Senhora no nicho existente sobre a entrada da capela; dois santos jesuítas sobre as consolas de talha à entrada (um dragão e um leão); nos nichos marmóreos esculturas de São Domingos de Gusmão, São João Baptista, São João Evangelista e São Francisco de Assis.

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Old and New Sacristy

Inaugurated in 1575, the first sacristy of this church serves as an antechamber to the one built later in 1596/99. It stands out as the place where the tomb of the emblematic Archbishop Frei Manuel do Cenáculo is located. His bibliophilic activity had a significant impact on the country and the city, and we owe not only the extraordinary Public Library of Évora to him but also important collections to the National Museum, which bears his name.

The New Sacristy is an impressive room of great artistic and iconographic value, starting with the mural painting on the vault, which depicts different episodes from the life of Saint Ignatius of Loyola. It is worth noting that the founder of the Jesuits was only canonized in 1622. The paintings are part of a dense composition that combines a variety of motifs with a classical flavor, like the painted rectangular floral ornaments in high relief.

In addition to biblical allegories, it is noteworthy that some animals considered exotic at the time, such as peacocks or turkeys, are represented, as well as figures from different peoples and Chinese details that appear here for the first time in Portuguese painting.

In the tympanums, there are three episodes of great importance in the history of the Society of Jesus: above the entrance door, Pope Paul III grants the Rule to Saint Ignatius; flanking the oculus on the opposite wall, King Dom João III receives the foundation letters of the Society from the hands of Saint Francis Xavier and Simão Rodrigues de Azevedo (1540); Cardinal Dom Henrique receives the first Jesuits who arrived in the city (1551).

The diamond-pointed tiles, arranged in an unusual pattern, the marble lavabo, and the exotic wood paramenters are also notable features of the sacristy.

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Main chapel

Mannerist altarpiece in gilded woodwork with four niches dedicated to the main saints of the Order: Saint Ignatius of Loyola and Francis Xavier; Saint Francis Borgia and Saint Aloysius Gonzaga. In the central body, there is a remarkable architectural structure with a high relief image of the Resurrected Christ on the door, and above it, a canvas by Teixeira Barreto representing the Christ of the Children. Dating back to 1780, it conceals the tabernacle for the exposition of the Most Holy Sacrament.
This altarpiece was attributed by Francisco Lameira to the master carver Sebastião Vaz and is believed to date from around 1631, judging by the date found on the standard tiles that cover the side walls. Both panels display intricate period decoration and in the center, the representation of the Holy Spirit and the coat of arms of Cardinal D. Henrique.

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Chapel of Our Lady of Succor

Altarpiece from circa 1704 coinciding with a new consecration of the altar to Our Lady of Succor, an imposing image of the Virgin Mother in the tribune, gazing affectionately at the Baby Jesus and elevated by five cherubs.
The altar is structured by four Solomonic columns, richly decorated with clusters of grapes, birds, flowers, foliage. A highlight is the resplendent sun in a cartouche in the attic, the tabernacle with a cross surrounded by grapevines and exotic figures, or the pilasters supported by birds. They respectively hold the images of an unidentified saint and another of Saint Cecilia, the patroness of musicians.

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Chapel of Our Lady of the Assumption

Altarpiece from around 1702 in gilded woodwork, dedicated to Our Lady of the Assumption. On the side pilasters accompany her, depicting Saint Peter the Apostle and Saint John the Evangelist, who holds his open Gospel with the inscription: IN PRINCIPIO ERAT VERBUM (In the beginning was the Word – John 1:1).
The altar is structured by four Solomonic columns, extensively decorated with clusters of grapes, birds, foliage, cartouches, exotic figures, and angels. The central section stands out, dominated by the rising sun in an attic shield, and its radiant form in the tabernacle surmounted by angels, who almost blend together and assist the five cherubs raising the image of the Virgin and invoking her.

Founder's chapel

Cardinal D. Henrique destined this arm of the transept for his funerary chapel, designed in a classical style, where on the respective tomb chest is written (translated from Latin according to Túlio Espanca):
HENRIQUE, SON OF THE INVINCIBLE KING OF
PORTUGAL, D. MANUEL, AND THE MOST PIOUS QUEEN
D. MARIA: CARDINAL OF THE HOLY ROMAN CHURCH;
PERPETUAL LEGATE BESIDE THE APOSTOLIC SEE;
GENERAL INQUISITOR IN THESE KINGDOMS; WHO,
FROM ARCHBISHOP OF AUGUSTA BRAGA, FOR JUST
REASONS, WAS ELECTED FIRST ARCHBISHOP OF
ÉVORA, AND LATER OF LISBON, AGAIN BECOMING
ARCHBISHOP OF ÉVORA, AND COMMENDATORY OF
THE MONASTERIES OF ALCOBAÇA AND SANTA CRUZ
OF COIMBRA; AN EXCELLENT PRINCE AND WORTHY
OF UNIVERSAL MEMORY; WHILE STILL LIVING,
HE CHOSE THIS PLACE FOR HIS BURIAL,
BECAUSE WHERE, BY THE GRACE OF HEAVEN, HE SOUGHT
THE SALVATION OF OTHERS’ SOULS, HE BELIEVED AND
HOPED, RIGHTLY, TO BE FAVORABLE TO
THE ETERNAL GOD FOR HIS OWN SOUL, THROUGH
THE CONTINUOUS SACRIFICES AND PRAYERS OF THOSE
WHO HAVE ALWAYS SHOWN THEMSELVES GRATEFUL TO HIM. HE
HIMSELF, HOWEVER, BEING KING LATER,
WAS OBLIGED TO BE BURIED
NEAR HIS PARENTS AND SIBLINGS.
Nevertheless, the last king of the Avis dynasty determined that a fragment of his heel should be placed there. At the foot of the tomb lies his nephew D. Duarte, who died in 1576, in an open crypt with the permission of the Cardinal King.

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Chapel of Saint Sebastian

The altarpiece in gilded woodwork of the same typology and workshop cycle as the previous one, bearing in the tribune the image of the patron saint, in a stylized conception, perhaps still from the previous century, in a conventional representation: naked and tied to a trunk while suffering the martyrdom of arrows. On the lateral pilasters, two unidentified bishops.
The curved gable pediment, centered by a large scrolled cartouche with a carved panel with padded center suggesting embroidered fabric, is surmounted by putti holding garlands, and on the side slopes of the entablature, perfectly sculpted angels.
In the crypt floor, a burial place for the Archbishops of Évora, closed by a tombstone with an inscription referring to D. David de Sousa and D. Maurílio de Gouveia.

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Chapel of Saint Catherine of Alexandria

Diverse episodes stand out in the legend of this Virgin Martyr, perhaps the most interesting in the context of this church being that of Saint Catherine debating with the Doctors of Alexandria, which earned her the patronage of philosophers, theologians, students, and universities.
The altarpiece was likely executed in 1722 and gilded four years later, embodying a more advanced example of the Baroque style than its predecessors. It is defined by a double Salomonic column arrangement with pilasters and pedestals between them, displaying two images of Our Lady at the ends and Saint Joachim and Saint Gregory closer to the tribune.

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Chapel of Saint Anne

The altar consecrated in 1721 preserves a profusion of polychromatic and gilded elements in an intricate arrangement, with the triple branch of roses on the upper cartouche standing out as a quintessential Marian symbol.
The altarpiece coincides with the height of the cult of Saint Anne in Portugal, depicted here in an iconographic variant fully in line with one of the main vocations of the Jesuit priests. Devoted to a theme absent from the canonical and apocryphal Gospels, the Education of Our Lady is usually portrayed in these images of Master Saint Anne, holding a Book (Holy Scriptures) in her hand while teaching the young Mary how to read.
On the curved sectioned pedestals of the sides, there are two other images: an unidentified Holy Pope and Saint Vincent Ferrer.

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Chapel of Saint Anthony

The gilded wood altarpiece, dating from around 1715, belongs to the workshop cycle of the previous chapel. It is structured with twisted columns and pilasters adorned with birds, grape clusters and vines, foliage, and flowers. These elements, enlivened by polychrome accents, find correspondence in the pediment of concentric columns closed by a Baroque cartouche.
In the central niche, there is a conventional representation of Saint Anthony, with the Infant Jesus standing on a book held in His left hand. On the pedestals of the sides, supported by birds, there are statues of Saint Amaro and an unidentified Benedictine saint.

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Chapel of Santa Ursula

The gilded wood altarpiece, dating from 1715, was created to house one of the great medieval hagiographic narratives, the story of Saint Ursula and her Eleven Thousand Virgins. The impressive martyrdom of the Breton princess and her entire entourage is depicted in the Baroque cartouche that crowns the pediment – a crown with two palms and, most prominently, an arrow piercing her neck. The image is framed by an original carved panel where cherubs are placed in the radiance.
The sides of the lower part and the altar table, like the other chapels in this part of the nave, are adorned with faux marble painting, while the walls and ceiling feature mural paintings of architectural elements.
It also contains a plain tomb chest, which appears to hold the viscera of a Marquis of Abrantes.

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Chapel of Saint John the Baptist

It has the oldest altarpiece in the nave, with Mannerist characteristics possibly dating back to the late 17th century. In the altar with a straight plan, which includes iconographic cartouches, a centrally located niche with a curved cover opens up, displaying the image of Saint John the Baptist, surrounded by three shallower niches intended for the images of an unidentified Franciscan saint, Our Lady of the Conception, and a Jesuit saint..
On the bench, there are 14 small niches intended for reliquaries, of which we know the typology of ten: four half-length figures and six arms.
In addition to the painted imitation of marbled wood and the traces of mural painting common to other chapels, there are pattern style tile panels on the side facades.

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Chapel of Saint Ignatius of Loyola

Completely covered with panels of gilded and polychrome woodwork, marbled imitations, and faux finishes, this chapel was sponsored in 1715 by Bento de Lemos, who was later buried there.
The distinctive and exceptional features of the chapel dedicated to the founder of the Society of Jesus determined, even in those years, that it was considered unparalleled in the city, just like the entire ensemble of this church, and perhaps served as inspiration for the current chapel of Our Lady with the Child.
Among angels, birds, and grapevines; foliage, garlands, shells, and husks, the abundance of depicted emblems with religious and Jesuit themes stands out, adorning the ceiling and facades or, in the axis of the altarpiece, the two vertically opposed cartouches, shielded by attendant angels, one containing a sun and the other the acronym IHS inscribed within a heart.

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Chapel of the Lord of the Way of the Cross

A chapel entirely adorned with geometric marble paneling in different colors, commissioned for the Convent of Graça by the 1st Marquis of Abrantes to serve as a funerary chapel for his wife, Isabel de Lorena. It was completed around 1708 and still retains the corresponding funerary tombstone behind the altar table.
In 1789, the Brotherhood of the Lord of the Way of the Cross was established there, and after the Decree of Abolition of Religious Orders (1834), they managed to transfer the entire chapel and its belongings to this location.
This explains the significant disparity in relation to the profile of the other chapels in this remarkable Jesuit ensemble, as well as the presence of the dressed images of the Lord of the Way of the Cross, Our Lady, and Saint John the Evangelist, but also a certain mismatch in the size and inlay pattern of the altar table.

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Chapel of Our Lady with the Child

A chapel dating from around 1725, characterized by the tremendous visual impact derived from the complete covering of the walls, ceiling, and entrance arch, where there are also two confessionals integrated into the wall recess. It takes the marble and artistic woodworking to another level, particularly with the dozens of raised panels depicting iconographic scenes and Latin inscriptions. In the words of Túlio Espanca, numerous intentional or symbolic elements are displayed, sacred medallions and attributes of Astronomy, where allegories of the missionary expansion of the Society of Jesus are conceived through the branches of Universal Knowledge.
The ensemble is complemented by colorful inlaid panels, painted confessionals simulating inlays, four atlantes representing birds, and marble caryatids flanking the tribune and the altar table, respectively.

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Chapel of the Crucified Christ

The gilded woodcarving altarpiece of this chapel dates back to 1707/8 and was specifically made for the 17th-century image of the Crucified Christ. It occupies the entire tribune, framed by a mandorla-shaped radiance with rays extending into a background of stylized clouds punctuated by Cherubs. Below, there is a beautiful depiction of the Celestial Jerusalem. Various instruments of the Redeemer’s Martyrdom are present: at the upper closure, a crown of thorns and three nails, and laterally, at the base of the altar, the hammer and the pliers.
The sides of the lower part of the altarpiece and the altar table are decorated with faux marbled painting, imitating inlays, and the walls feature mural painting with an architectural inclination.

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Chapel of the Glorification of the Virgin

The chapel was completed in 1575 and is similar to the one on the other side of the transept, with two Tuscan columns and four niches in white marble. The invocation derives from the high relief representation of the Coronation of the Virgin, in an oval medallion present in the tympanum of the altarpiece, whose contract was arranged with master Francisco Machado in 1703.
The current appearance of the chapel is the result of various decorative campaigns that are now materialized in a profusion of elements. The works of mural painting on the side walls and ceiling are articulated – in intricate colored patterns in the style of the 17th century – with the gilded and polychromed woodwork of great aesthetic, artistic, and symbolic value. It impresses with the quality, quantity, and details in the conception of panels, figures, reliefs, inscriptions, and emblems. There are three paintings: Last Supper – attributed by Vítor Serrão to Vasco Fernandes (1501/43); Pentecost and Calvary (17th century); a set of imagery: Our Lady in the niche above the entrance of the chapel; two Jesuit saints on the carved consoles at the entrance (a dragon and a lion); and in the marble niches, sculptures of Saint Dominic, John the Baptist, John the Evangelist, and Saint Francis of Assisi.

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