It is located in Largo do Santuário, town of Óbidos, District of Leiria, Central Portugal
The Sanctuary of Senhor Jesus da Pedra (Outside the walls of Óbidos) presents an exterior silhouette cut out in a hexagonal shape crowned by a large pyramid of green glazed tiles.
The Sanctuary of Senhor Jesus da Pedra was built in the middle of the Baroque era (1740-1747), but the details were not finished, windows seem strangely inverted, it is dedicated to Senhor da Pedra and takes place on the 28th of May.
The Sanctuary of Senhor Jesus da Pedra was designed by Captain Rodrigo Franco, architect at Mitra Patriarcal.
The work on the sanctuary is at the level of the greatest constructions of its time, being part of the cycle of great works patronized by D. Tomás de Almeida, Cardinal Patriarch of Lisbon, and D. João V, with influences from Mafra and the Lisbon church of Santa Engrácia present.
Senhor Jesus da Pedra is an interesting and unique baroque ensemble consisting of a centrally planned sanctuary, the surrounding yard, attached buildings, including a pilgrim hostel and a fountain.
The temple has a hexagonal plan inscribed in a circle, two bell towers with a quadrangular plan, the chancel and the sacristy with a rectangular plan.
The main facade, between the two towers, faces the town of Óbidos.
The portal is monumental and articulates with a large mirror window in a typology that is repeated in all the main openings of the building: each window is composed of a doubled opening, above the lintel, by another identical opening, but inverted.
The towers, each occupying the space equivalent to a cloth of the interior hexagon, are torn by arcades on the ground floor, and by large windows on the two upper floors, the windows on the first floor, at the height of the central window, are of great size with elevated triangular pediments.
Chimes should have been placed in the towers similar to those in the Convent of Mafra, but these too remain unfinished.
The main chapel is open to a central axis, at the head composed of a tall and slender round arched door surmounted by an oval oculus, and a large window with a triangular pediment similar to those on the towers.
The interior has a hexagonal plan, reproduced in the six-pitched roof of the central body, on the sides of the hexagon on each floor there are corridors providing access to the side chapels (on the ground floor) and the tribunes.
The main chapel keeps the so-called miraculous cross, a naive work with an uncertain chronology, on a machine in the center of the altarpiece, where there is also a screen representing Calvary, by André Gonçalves.
Inside there are two side chapels, one dedicated to Our Lady of Conception and the other to the Death of Saint Joseph, designed by José da Costa Negreiros.
In the temple there are also twelve sculptures representing the Apostles, eight screens, tile panels (in the main chapel), several baroque carvings, marble and high quality furniture.
The towers with interior windows that open onto the temple have several rooms.
Until the middle of the 20th century, the small cross remained in a small hermitage located next to the sanctuary, in the yard where the pilgrims' house stands there is a rococo back fountain.
Since 1762, the annual Santa Cruz fair has been held in this area (on the 3rd of May), in the Santuário square there is a beautiful blue and white fountain carved in baroque lines.
The Sanctuary of Senhor Jesus da Pedra was built in the middle of the Baroque era (1740-1747), but the details were not finished, windows seem strangely inverted, it is dedicated to Senhor da Pedra and takes place on the 28th of May.
The Sanctuary of Senhor Jesus da Pedra was designed by Captain Rodrigo Franco, architect at Mitra Patriarcal.
The work on the sanctuary is at the level of the greatest constructions of its time, being part of the cycle of great works patronized by D. Tomás de Almeida, Cardinal Patriarch of Lisbon, and D. João V, with influences from Mafra and the Lisbon church of Santa Engrácia present.
Senhor Jesus da Pedra is an interesting and unique baroque ensemble consisting of a centrally planned sanctuary, the surrounding yard, attached buildings, including a pilgrim hostel and a fountain.
The temple has a hexagonal plan inscribed in a circle, two bell towers with a quadrangular plan, the chancel and the sacristy with a rectangular plan.
The main facade, between the two towers, faces the town of Óbidos.
The portal is monumental and articulates with a large mirror window in a typology that is repeated in all the main openings of the building: each window is composed of a doubled opening, above the lintel, by another identical opening, but inverted.
The towers, each occupying the space equivalent to a cloth of the interior hexagon, are torn by arcades on the ground floor, and by large windows on the two upper floors, the windows on the first floor, at the height of the central window, are of great size with elevated triangular pediments.
Chimes should have been placed in the towers similar to those in the Convent of Mafra, but these too remain unfinished.
The main chapel is open to a central axis, at the head composed of a tall and slender round arched door surmounted by an oval oculus, and a large window with a triangular pediment similar to those on the towers.
The interior has a hexagonal plan, reproduced in the six-pitched roof of the central body, on the sides of the hexagon on each floor there are corridors providing access to the side chapels (on the ground floor) and the tribunes.
The main chapel keeps the so-called miraculous cross, a naive work with an uncertain chronology, on a machine in the center of the altarpiece, where there is also a screen representing Calvary, by André Gonçalves.
Inside there are two side chapels, one dedicated to Our Lady of Conception and the other to the Death of Saint Joseph, designed by José da Costa Negreiros.
In the temple there are also twelve sculptures representing the Apostles, eight screens, tile panels (in the main chapel), several baroque carvings, marble and high quality furniture.
The towers with interior windows that open onto the temple have several rooms.
Until the middle of the 20th century, the small cross remained in a small hermitage located next to the sanctuary, in the yard where the pilgrims' house stands there is a rococo back fountain.
Since 1762, the annual Santa Cruz fair has been held in this area (on the 3rd of May), in the Santuário square there is a beautiful blue and white fountain carved in baroque lines.
