It is located on Rua Alfredo Guimarães, in the former parish of Oliveira do Castelo, currently part of the Union of Parishes of Oliveira, São Paio and São Sebastião, in the city and municipality of Guimarães, district of Braga, Northern Portugal
The Museum is located in the buildings attached to the Church of Nossa Senhora da Oliveira, forming the complex of the former Collegiate Church of Guimarães classified as a National Monument since 1910 and a World Heritage Site since 2001.
The Alberto Sampaio Museum was created in 1928 to house the artistic collection of the extinct Colegiada de Nossa Senhora da Oliveira and other churches and convents in Guimarães, and opened to the public in 1931.
On August 1, 1931, the Alberto Sampaio Regional Museum was officially opened, and later Alfredo Guimarães was officially appointed Director of the Museum (on October 19, 1932).
The Alberto Sampaio Museum is located in the heart of the historic center of Guimarães, in the place where Countess Mumadona ordered the construction of a monastery in the 10th century, initially a double monastery, but in the 19th century. XII became a Collegiate Church undergoing renovation works.
During the reign of D. João I, important works began to expand and improve the buildings of the Collegiate Church, with this king beginning and completing the construction of a new Church dedicated to Santa Maria de Guimarães.
In the century. XVI, the church, the cloister and the House of D. Prior underwent important renovation works.
In the following centuries, the Church was a constant stage for changes and additions, and the works carried out at the end of the 18th century in the Casa do Cabido, a building that today serves as the main entrance to the Museum, were also significant.
The buildings belonging to the Collegiate Church of Nossa Senhora da Oliveira pass into the hands of the State and an important set of works is carried out with a view to adapting the building.
On May 14, 1928, works began to adapt the cloister and the 1st floor of the Priory House.
In 1935, works to adapt the building were completed, providing an exhibition space for its collections, the Cloister and five more rooms, plus another three rooms that function as the Museum's library, administrative services and storage room.
In the 1960s, the General Directorate of National Buildings and Monuments of the North carried out conservation and restoration works on the entire Casa do Priorado and Casa do Cabido buildings. In 1967, new spaces were inaugurated, such as: a conference room, rooms for temporary exhibitions.
The Museum once again undergoes restoration and remodeling work, gaining a new look: the reception, the museum store and the exhibition spaces are renovated. (1999-2004)
The Museum is made up of spaces such as the Cloister, the Goldsmithing room, the Aljubarrota room, the Fresco Painting room, the Painting and Sculpture room, the Santa Clara room, the Carving room and the Chapter room.
The Goldsmithing room consists of liturgical implements, precious stones, chalices, monstrances, crosses and reliquaries: chalice and paten of D. Sancho I (1187), reliquary safe (15th century), Santa Maria da Oliveira (15th century), Reliquary of Saint Sebastian (16th century), Reliquary of Santo Lenho (16th century), Urn for the Blessed Sacrament (18th century), Altar cross (18th century), Reliquary chest (18th century), Chalice (18th century), Missal stand (18th century), Archangel Saint Michael (1817-1818), Jar (19th century), Crosier (19th century), Snuff box (19th century), Candlesticks (19th century), Box for the ambula of Extreme Unction (19th century), Sage (19th century), and Toothpick Holder (19th century).
Today it is one of the best sets of its kind in national museums, occupying a unique place in the History of Art in Portugal, highlighting that of the 12 national treasures that the Museum has, 10 are found in the Goldsmith's Room.
The Aljubarrota room is on display in a set of pieces related to the battle of Aljubarrota (14 August 1385) between King D. João I of Portugal and King D. João I of Castile, which was decisive for the consolidation of national independence.
King D. João I had a special devotion to Santa Maria de Guimarães, who we know today as Our Lady of the Olive Tree, and it was the Saint that D. João I asked for divine protection and later came to thank for having won such a decisive battle.
In this room we find his weapons of D. João I, the Loudel that he wore in the fight and the silver-gilded Triptych that represents the birth of the Baby Jesus.
The nucleus of the Collegiate Church brought together altarpieces or panels and paintings that were hidden and abandoned, such as: the Triptych of Lamentation and Our Lady with the Child, the tablets of Our Lady of the Milk between São Bento and São Jerónimo and a São Miguel, a 16th century tablet by Frei Carlos depicting São Vicente, São Martinho and São Sebastião that had belonged to the Monastery of Santa Marinha da Costa.
The museum's collection consists mainly of sacred art, areas of goldsmithing, painting, sculpture, textiles and ceramics, and includes more than 2000 objects inventoried with important pieces from the 14th, 15th and 16th centuries.
A Museum with twelve national treasures and are classified as assets of national interest by the Ministry of Culture.
The Alberto Sampaio Museum was created in 1928 to house the artistic collection of the extinct Colegiada de Nossa Senhora da Oliveira and other churches and convents in Guimarães, and opened to the public in 1931.
On August 1, 1931, the Alberto Sampaio Regional Museum was officially opened, and later Alfredo Guimarães was officially appointed Director of the Museum (on October 19, 1932).
The Alberto Sampaio Museum is located in the heart of the historic center of Guimarães, in the place where Countess Mumadona ordered the construction of a monastery in the 10th century, initially a double monastery, but in the 19th century. XII became a Collegiate Church undergoing renovation works.
During the reign of D. João I, important works began to expand and improve the buildings of the Collegiate Church, with this king beginning and completing the construction of a new Church dedicated to Santa Maria de Guimarães.
In the century. XVI, the church, the cloister and the House of D. Prior underwent important renovation works.
In the following centuries, the Church was a constant stage for changes and additions, and the works carried out at the end of the 18th century in the Casa do Cabido, a building that today serves as the main entrance to the Museum, were also significant.
The buildings belonging to the Collegiate Church of Nossa Senhora da Oliveira pass into the hands of the State and an important set of works is carried out with a view to adapting the building.
On May 14, 1928, works began to adapt the cloister and the 1st floor of the Priory House.
In 1935, works to adapt the building were completed, providing an exhibition space for its collections, the Cloister and five more rooms, plus another three rooms that function as the Museum's library, administrative services and storage room.
In the 1960s, the General Directorate of National Buildings and Monuments of the North carried out conservation and restoration works on the entire Casa do Priorado and Casa do Cabido buildings. In 1967, new spaces were inaugurated, such as: a conference room, rooms for temporary exhibitions.
The Museum once again undergoes restoration and remodeling work, gaining a new look: the reception, the museum store and the exhibition spaces are renovated. (1999-2004)
The Museum is made up of spaces such as the Cloister, the Goldsmithing room, the Aljubarrota room, the Fresco Painting room, the Painting and Sculpture room, the Santa Clara room, the Carving room and the Chapter room.
The Goldsmithing room consists of liturgical implements, precious stones, chalices, monstrances, crosses and reliquaries: chalice and paten of D. Sancho I (1187), reliquary safe (15th century), Santa Maria da Oliveira (15th century), Reliquary of Saint Sebastian (16th century), Reliquary of Santo Lenho (16th century), Urn for the Blessed Sacrament (18th century), Altar cross (18th century), Reliquary chest (18th century), Chalice (18th century), Missal stand (18th century), Archangel Saint Michael (1817-1818), Jar (19th century), Crosier (19th century), Snuff box (19th century), Candlesticks (19th century), Box for the ambula of Extreme Unction (19th century), Sage (19th century), and Toothpick Holder (19th century).
Today it is one of the best sets of its kind in national museums, occupying a unique place in the History of Art in Portugal, highlighting that of the 12 national treasures that the Museum has, 10 are found in the Goldsmith's Room.
The Aljubarrota room is on display in a set of pieces related to the battle of Aljubarrota (14 August 1385) between King D. João I of Portugal and King D. João I of Castile, which was decisive for the consolidation of national independence.
King D. João I had a special devotion to Santa Maria de Guimarães, who we know today as Our Lady of the Olive Tree, and it was the Saint that D. João I asked for divine protection and later came to thank for having won such a decisive battle.
In this room we find his weapons of D. João I, the Loudel that he wore in the fight and the silver-gilded Triptych that represents the birth of the Baby Jesus.
The nucleus of the Collegiate Church brought together altarpieces or panels and paintings that were hidden and abandoned, such as: the Triptych of Lamentation and Our Lady with the Child, the tablets of Our Lady of the Milk between São Bento and São Jerónimo and a São Miguel, a 16th century tablet by Frei Carlos depicting São Vicente, São Martinho and São Sebastião that had belonged to the Monastery of Santa Marinha da Costa.
The museum's collection consists mainly of sacred art, areas of goldsmithing, painting, sculpture, textiles and ceramics, and includes more than 2000 objects inventoried with important pieces from the 14th, 15th and 16th centuries.
A Museum with twelve national treasures and are classified as assets of national interest by the Ministry of Culture.
