Above Coimbra/Alta da Cidade

Aqueduct of S. Sebastião (Arcs of the Garden)

Built on the probable ruinas of a Roman aqueduct, the aqueduct of S. Sebastião binds the mounts of the Monastery of Santana and the Castle. D. Sebastião it puted in charge engº Filipe Térzio of its construction. Two sculptures meet in one templete that encima the honor arc and represent S. Roque and S. Sebastião.




Church of S. João de Almedina

It is a religious edificio whose construction retraces the 1129 (century XI), of românico style, but of arcaizante feição. Between 1684 and 1704, the church was reconstructed, getting excited it its arquitectónica structure. One meets integrated in the wall of the Museum, being, such as it, seats in the Roman criptopórtico that supported old fórum imperial.






Church of S. Salvador
Contemporary of the Old Sé is about a temple, with three ships, dated of the second half of century XI (1179). Later, in century XVIII, he suffered a great remodelling, mainly in the inward, therefore he verifies yourself that the façade represents a reduction of the Old Sé, keeping its primitive features.












National museum Machado de Castro

One meets installed in the busy edificio for paço previously episcopal, where since century XI the bishops of Coimbra inhabited. Into 1912 the church of S. João de Almedina was transformed into Museum, also englobando who, since the Average Age, if finds attached to this.

Both the edificios had been construidos on a Criptopórtico Romano, made to annul the accented declivity of the source, making possible, thus, the construction of fórum imperial. The upper part is constítuido by two overlapping galleries of great dimensions, having a sufficiently complex structure, with two corridors and a set of made use cells parallel. Had to its features, it is the Roman edificio greater, of género, found in the Iberian Peninsula, and one of the greaters of the Europe.

How much to the colecções of the museum, they are distinguished medieval estatuária it (góticas workmanships), of the Renaissance, flamenga and baroque. It possesss a sufficiently significant set of paintings, a colecção of fabrics of great artistic level and rarity, a set of situated parts of goldsmithery between centuries XI and XIX, as well as an important colecção of faianças and porcelains, being also represented the Portuguese furniture and go-Portuguese.



Palácio de Sub-Ripas

Dated workmanship of the first decades of century XVI Is divided in two tablets: the from above House or House of the Arc, and the House of Low or House of the Tower. Naturalistic and manuelina decoration meets in the House of Low. In turn, in the from above House, a patio can be seen renascentista that, for the style, can attribute the workshop to it of Juão de Ruão.









Sé Nova
The construction of this temple was initiated in 1598, drawing out the workmanships for the following decénios, opening to the believers in 1640. It belonged, together with the extinct College of the Eleven A thousand Virgins, to the Jesuits, until they had been expulsos in 1759, being then delivers to the fit university professor.

The plan of the temple is felt inspired in the one of the church of Jesus of Rome, of arquitecto Vignola. It possesss a Latin cross plant of one alone ship, being the covering made for a abobadamento of cradle, excepto in the cruise.

In the headboard a cadeiral of wood-black color with espaldas golden dated of the last years of century XVII meets, and that it was transferred of the Old Sé to the new cathedral.

The chapels of the flanks of the ships meet stuffed with excellent retábulos of golden cuts, where if it can observe the evolution of the Portuguese cut and the structure of the retábulos to the long one of centuries XVII and XVIII.

Finally, the New Sé possesss one inside claustro of considered century XVII of the evolution of the conimbricenses claustros, classic root, of flat architecture, almost austere, having an arches low leaked and the superior of wide windows.



Sé Velha
Old SéVelha

Main existing românico monument in Portugal, counts on eight centuries of existence. The First rock of the edificio was launchn in the year of 1162 for the share of Bishop D. Miguel Salomão. The regular cult would initiate 22 years later.

The master Robert will have fit the authorship of projecto of the edificio, the same that, thirty years before, construira the church of Santa Cruz. The plan of the workmanship was rank in practical for, the also certainly French one, Bernardine master. With the death of Bernardo, in 1172, the workmanship was delivers the Soeiro.

The style of the construction combines in the românico call coimbrão of second phase, or either, afonsino. The influences of the churches of peregrination of the Path of Santiago, are well clear in this temple.

The exterior of the edificio is of paralelipipédica form, from there its robust aspect.

It is capsized for ocidente and it has an axial input. The decoration, of clear Islamic influences, is well clear in the main gate of the edificio. To encimar this gate a janelão with the same structure meets. The ameias, with clear defensive functions, crown the totality of the edificio.

In the façade of the left side others had become torn two gates. One is the Specious Gate (century XVI), workmanship of Juão de Ruão; the second gate is of Santa Catarina, of decoration simpler than the first one.

Relatively to the inward of the church, this can be classified in the following way: it presents three ships of different height, being the body of the raised central ship more of the one than the lateral ships; five we tramos; a vault of cradle has covered the central ship and vaults of edges cover the lateral ships; cruise with tower lantern (gótica in the beginning, but the cupola was modified in century XVIII); a vast gallery runs on the lateral ships.

In the altar-mor retábulo meets magnificent executed by flamengos sculptors (Olivier de Gand and Jean de Ypres) in 1498 and following ones. In absidíolo of the right side it meets Chapel of the Santíssimo Sacramento, executed for João of Ruão in 1566; in the left side the Chapel of S. Pedro is located, atribuida the Nicholas Chanterene.

In the walls of the lateral ships arc-chapels meet englobando paintings in screen. These arcs had been opened by Isidoro master de Almeida in 1636. The paintings are proto-baroque, dated of century XVII. They still remain some units of tiles Hispanic-Arabs of century XVI.

In trancepto a proto-renascentista baptismal sink can be admired, that belonged to the church of S. João de Almedina.
For all the church diverse units of the tumulária art can be seen (tomb of the Bishop D. Tibúrcio, D. Vetaça, Bishop D. Egas Fafes, etc.)

Claustro of the edificio was the first one to be constructed in Portugal in gótico style, after the construction of the church of the Monastery of Alcobaça. It possesss some chapels.



Seminário
Seminary

Errand to build for the Bishop Miguel de Anunciação, its workmanships had had beginning in 1748. In 1765 the central body was finished, but the two lateral bodies would only be constructed in century XIX. Projecto was elaborated by the Italian Francesco Tanossi.

The garden, of baroque influence and rare beauty, was traced in the last century.

The façade is formed by five bodies. The central body corresponds to the body of the privative church whose temple is small e with a magnificent decoration. In the chapel-mor to rectangular was placed a marble altar that includes a great painting of screen representing the Biblical scene of Jesus between the Doctors. The marble and the screen had come of Italy.

On the arc of the choir-high one a small orgão of century XVIII (1763) with decoration of golden and policromadas baroque cuts exists.

The cool ones of the cupola had been painted by Italian painter Pasquale Relative in 1760 and are allusive to the life of the virgin. Pasquale Relative tambem painted the cool ones of the chapel-mor, the choir-high one and the tecto one of the forecourt.

The two sculptures of the Virgin and S. José, upper category, had been sculptured in wood and, later, policromadas for Vassal Januário (Italian) in the year of 1756.

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