Avenida Nossa Senhora do Sameiro, in Braga
The Sameiro Basilica is located on Avenida Nossa Senhora do Sameiro, parish of Espinho, city of Braga, northern Portugal.
About 10 km from the center of Braga, you can reach the Santuário do Sameiro from Estrada do Bom Jesus do Monte or Estrada da Falperra.
This Basilica in the shape of a Latin cross has neoclassical style architecture, highlighting the dome and two towers that contain the chime of bells.
This Temple is more focused on a more classical architectural concept, that is, on the exterior there is no excess of decorative elements on the facade, large glazed openings, more compact volumes with less adornment.
About 10 km from the center of Braga, you can reach the Santuário do Sameiro from Estrada do Bom Jesus do Monte or Estrada da Falperra.
This Basilica in the shape of a Latin cross has neoclassical style architecture, highlighting the dome and two towers that contain the chime of bells.
This Temple is more focused on a more classical architectural concept, that is, on the exterior there is no excess of decorative elements on the facade, large glazed openings, more compact volumes with less adornment.
The History of the Sameiro Basilica
The history of this sanctuary began on June 14, 1863, when the first stone of a granite pedestal that would serve as support for a statue of the Virgin Mary was launched and blessed.
Its construction began in 1863, on the initiative of Father Martinho Pereira da Silva, at the time vicar of Braga, who ordered an image of Nossa Senhora da Conceição to be placed at the top of the hill.
The founder of this sanctuary was the vicar of Braga, Father Martinho António Pereira da Silva, a native of Semelhe who in 1869 had an image of Our Lady of Conception placed on the top of the mountain.
In 1876, the 2.20 meter high image of Nossa Senhora do Sameiro was designed by the Italian sculptor Eugenio Maccagnani, and for two years it was in the Pópulo church for the devotion of the faithful while the work on the Sameiro church was completed.
When the first chapel of the Sameiro Sanctuary was completed, the image of Our Lady of Sameiro was used for the first time in a large pilgrimage, being enthroned in August 1880 and two copies were made.
In 1877, the Confraternity of the Immaculate Conception of Monte Sameiro was created and the blessing of the first stone of the current church took place on August 31, 1890, with the dome only being built in 1936.
In 1877, the Confraria da Imaculada Conceição do Monte Sameiro was created, which received the title of Royal from King D. Luís.
The church was designed by Joaquim Augusto Correia Guimarães and the church was designated a Basilica by Pope Paul VI in 1964.
Its construction began in 1863, on the initiative of Father Martinho Pereira da Silva, at the time vicar of Braga, who ordered an image of Nossa Senhora da Conceição to be placed at the top of the hill.
The founder of this sanctuary was the vicar of Braga, Father Martinho António Pereira da Silva, a native of Semelhe who in 1869 had an image of Our Lady of Conception placed on the top of the mountain.
In 1876, the 2.20 meter high image of Nossa Senhora do Sameiro was designed by the Italian sculptor Eugenio Maccagnani, and for two years it was in the Pópulo church for the devotion of the faithful while the work on the Sameiro church was completed.
When the first chapel of the Sameiro Sanctuary was completed, the image of Our Lady of Sameiro was used for the first time in a large pilgrimage, being enthroned in August 1880 and two copies were made.
In 1877, the Confraternity of the Immaculate Conception of Monte Sameiro was created and the blessing of the first stone of the current church took place on August 31, 1890, with the dome only being built in 1936.
In 1877, the Confraria da Imaculada Conceição do Monte Sameiro was created, which received the title of Royal from King D. Luís.
The church was designed by Joaquim Augusto Correia Guimarães and the church was designated a Basilica by Pope Paul VI in 1964.
Inside the Basilica: Main Altar, Tabernacle and the famous image of Our Lady of Sameiro
This temple was completed in the 20th century, and its interior highlights the high altar in polished white granite, the magnificent tabernacle covered in silver, and the famous image of Our Lady of Sameiro flanked with the following inscriptions: “You The Glory of Jerusalem”, “You The Joy of Israel”, “You The Honor of Our People” and “You The Advocate of Sinners”.
Other Annexes of the Church: the Sacristy that appears in another interior room of the Sameiro Basilica in Braga
The Sacristy is an architectural space, that is, an annex to the church where the priestly vestments and liturgical utensils are kept. It is also in the sacristy that the priests dress up to perform masses and the person in charge of the sacristy is called the sacristan.
The famous image of Our Lady of Sameiro
The Image of Our Lady of Sameiro was sculpted in Rome by the sculptor Eugénio Maccagnani (brought from Rome in 1880), and blessed by Pope Pius IX and is made up of: a beautiful and valuable crown weighing 2.5 kg in solid gold with diamonds, and offered in 1904 by the women of Portugal and Queen D. Amélia of Orléans.
And at the top of the altar stands out the Sacred Heart of Jesus in white marble and on the right side appears Jesus Christ seated to the right of God the Almighty Father in Heaven (Christ as King) with the Cross, and at the top several angels and two of them holding the crown of Our Lady of Sameiro, beginning the theme of the Ascension.
On the sides there are two Altars: on one of them appears the Sacred Heart of Jesus, and the other Altar with the image of Saint Joseph carrying Jesus on his lap with the following inscription: "Joseph Spouse of Mary from whom Jesus was born”.
On the outside, the stone image of two angels protecting the temple stands out, the balcony windows made up of stained glass, 2 towers each carrying their own bells (bell chime), the domed dome and the dome at the top.
And at the top of the altar stands out the Sacred Heart of Jesus in white marble and on the right side appears Jesus Christ seated to the right of God the Almighty Father in Heaven (Christ as King) with the Cross, and at the top several angels and two of them holding the crown of Our Lady of Sameiro, beginning the theme of the Ascension.
On the sides there are two Altars: on one of them appears the Sacred Heart of Jesus, and the other Altar with the image of Saint Joseph carrying Jesus on his lap with the following inscription: "Joseph Spouse of Mary from whom Jesus was born”.
On the outside, the stone image of two angels protecting the temple stands out, the balcony windows made up of stained glass, 2 towers each carrying their own bells (bell chime), the domed dome and the dome at the top.
The Characteristics of the Basilica of Sameiro
This Basilica stands on a platform defining a small churchyard paved with granite slabs surrounded by a cement balustrade.
This temple has a polygonal plan composed of a single nave flanked by quadrangular bell towers and two rectangular bodies, that is, a pentagonal axis with rounded corners and wider where they are inscribed; the main chapel, side chapels, vestibule, sacristy and benefactors' room.
The articulated volumes with a verticalizing tendency, with differentiated coverings in domed gable roofs over the pentagonal body with a circular drum torn by pairs of lights separated by a pilaster, and having on one side a cylindrical body topped by a small dome.
The drum is covered above by a stone balcony supported by a phytomorphic corbel, the dome is opened by glasses with a starry frame and topped by a lantern with a balcony.
The bell towers have bulbous spiers torn by glasses and boasting phytomorphic decoration, that is, the highest part of the towers appears with a pointed or pyramidal top highlighting the Gothic style and the spiers appear covered in copper, tin or lead.
The facades were plastered and painted white, but the main one was made of exposed granite stonework with an isodome device.
This temple has a polygonal plan composed of a single nave flanked by quadrangular bell towers and two rectangular bodies, that is, a pentagonal axis with rounded corners and wider where they are inscribed; the main chapel, side chapels, vestibule, sacristy and benefactors' room.
The articulated volumes with a verticalizing tendency, with differentiated coverings in domed gable roofs over the pentagonal body with a circular drum torn by pairs of lights separated by a pilaster, and having on one side a cylindrical body topped by a small dome.
The drum is covered above by a stone balcony supported by a phytomorphic corbel, the dome is opened by glasses with a starry frame and topped by a lantern with a balcony.
The bell towers have bulbous spiers torn by glasses and boasting phytomorphic decoration, that is, the highest part of the towers appears with a pointed or pyramidal top highlighting the Gothic style and the spiers appear covered in copper, tin or lead.
The facades were plastered and painted white, but the main one was made of exposed granite stonework with an isodome device.
The Main Facade of the Sameiro Basilica
The Main Facade of the Basilica facing W. ends in a triangular pediment with a dented frieze inferiorly with the cornice interrupted by a shield of the brotherhood, crowned by two pairs of urns and a Latin cross over an acroterium on the gable (ornamental element appears in classicist style buildings in general)
It has two registers separated by an entablature with a dentil cornice (a horizontal band that stands out on the wall to accentuate ribs and to protect against rainwater), and divided into three panels by Ionic pilasters sectioned by rings.
It is topped by a raised portal with four steps in a full arch with an archivolt with a Corinthian capital and an acanthus leaf at the closure.
The portal is framed by two Ionic columns with a fluted shaft and two rings with phytomorphic decoration, with the lower cherubs and the upper Marian monogram.
Above, under the register separation entablature, there are three corbels with phytomorphic decoration and a pair of volutes connecting with those on the pilasters.
The second register is torn by a large window (an opening in the wall of a building above the floor to let in light and air) in a round arch of a balcony with an archivolt with Corinthian capitals, a cherub with a phytomorphic motif on the closure, and a guard in stonework pierced by arches and phytomorphic motifs.
It is flanked by two bell towers, divided into three registers (built structures) defined by an entablature, the first torn by three overlapping circular glasses, with balcony windows in round arches and guards similar to those of the central window.
At the top, there is a sub-register with a circular clock topped by windows in round arches with an acanthus leaf on the closure closed by a balcony with stone balusters.
The side facades are similar with full platband finishes in exposed stonework, with two panels in the body of the nave separated by a double Tuscan pilaster and two registers, the upper one being recessed and protected by a stone balustrade.
The first is topped by a straight lintel door topped by a curved pediment and the second by depressed arched windows.
In the body of the main chapel, with the sides marked by Tuscan pilasters crowned by fires, with a projecting arm topped by a triangular pediment surmounted by a Latin cross over an acroterium, a phytomorphic cartouche with inscription, a straight lintel portal framed and framed by Tuscan pilasters surmounted by a large arched window on two Ionic columns framed by two other Ionic columns that support a pediment. curved.
The connecting panels to the nave and the rear facade have a curved profile, and are torn by a window with a cut-out frame.
The rear facade integrating the two sides of the pentagon is rhythmic by Tuscan pilasters that structure three panels and has three registers separated by a frieze on the central panel.
This is torn in the first register by two windows with cut frames, in the second by two perfect round bay windows topped with triangular pediments on two corbels, and in the third by two depressed arched windows with highlighted stone at the closure.
The narrower side panels have windows and glasses with cut-out frames.
It has two registers separated by an entablature with a dentil cornice (a horizontal band that stands out on the wall to accentuate ribs and to protect against rainwater), and divided into three panels by Ionic pilasters sectioned by rings.
It is topped by a raised portal with four steps in a full arch with an archivolt with a Corinthian capital and an acanthus leaf at the closure.
The portal is framed by two Ionic columns with a fluted shaft and two rings with phytomorphic decoration, with the lower cherubs and the upper Marian monogram.
Above, under the register separation entablature, there are three corbels with phytomorphic decoration and a pair of volutes connecting with those on the pilasters.
The second register is torn by a large window (an opening in the wall of a building above the floor to let in light and air) in a round arch of a balcony with an archivolt with Corinthian capitals, a cherub with a phytomorphic motif on the closure, and a guard in stonework pierced by arches and phytomorphic motifs.
It is flanked by two bell towers, divided into three registers (built structures) defined by an entablature, the first torn by three overlapping circular glasses, with balcony windows in round arches and guards similar to those of the central window.
At the top, there is a sub-register with a circular clock topped by windows in round arches with an acanthus leaf on the closure closed by a balcony with stone balusters.
The side facades are similar with full platband finishes in exposed stonework, with two panels in the body of the nave separated by a double Tuscan pilaster and two registers, the upper one being recessed and protected by a stone balustrade.
The first is topped by a straight lintel door topped by a curved pediment and the second by depressed arched windows.
In the body of the main chapel, with the sides marked by Tuscan pilasters crowned by fires, with a projecting arm topped by a triangular pediment surmounted by a Latin cross over an acroterium, a phytomorphic cartouche with inscription, a straight lintel portal framed and framed by Tuscan pilasters surmounted by a large arched window on two Ionic columns framed by two other Ionic columns that support a pediment. curved.
The connecting panels to the nave and the rear facade have a curved profile, and are torn by a window with a cut-out frame.
The rear facade integrating the two sides of the pentagon is rhythmic by Tuscan pilasters that structure three panels and has three registers separated by a frieze on the central panel.
This is torn in the first register by two windows with cut frames, in the second by two perfect round bay windows topped with triangular pediments on two corbels, and in the third by two depressed arched windows with highlighted stone at the closure.
The narrower side panels have windows and glasses with cut-out frames.
The structure of the Sameiro Basilica
The Sameiro Basilica has classic characteristics, a polygonal plan composed of a nave and a pentagonal body and which includes the main chapel covered by a dome crowned by a lantern.
The main facade, entirely made of granite, with a harmonic facade type, flanked by two bell towers with bulbous coruches roofs (pyramidal or conical top of a tower, wooden trim covered with slate in the shape of a pyramid) ends in a triangular pediment with a coat of arms on the tympanum, rhythmed by pilasters and Ionic and Corinthian columns that form three panels with three axes of openings.
The three axes of openings consist of the central one with a round arched portal surmounted by a large bay window and the lateral ones with balcony windows.
The main facade, entirely made of granite, with a harmonic facade type, flanked by two bell towers with bulbous coruches roofs (pyramidal or conical top of a tower, wooden trim covered with slate in the shape of a pyramid) ends in a triangular pediment with a coat of arms on the tympanum, rhythmed by pilasters and Ionic and Corinthian columns that form three panels with three axes of openings.
The three axes of openings consist of the central one with a round arched portal surmounted by a large bay window and the lateral ones with balcony windows.
The Interior of the Basilica of Sameiro
The interior of the Basilica has facades made of exposed granite stonework, a barrel-vaulted roof over a stone cornice, wooden flooring and a central corridor made of polished granite slabs.
The high choir is based on two basket-wing arches protected by a stone balustrade highlighted in the center on an anthropomorphic corbel.
The sub-choir is lined with industrial polychrome blue, yellow and white tiles with inscriptions on marble support.
The transom doors end in a triangular pediment, that is, a triangular-shaped architectural set that decorates the top of the main facade of a building and is made up of 2 essential parts: the cymbal (the base) and the gables (two sides that close the triangle) comes from classical Greco-Roman architecture.
Inscribed in a full-arch opening with two side doors, one for the high choir and tower, and the other for storage space and are protected by a chestnut wood windshield.
Over the opening is the bay window with a rectangular base on two phytomorphic corbels and stone balusters.
The two large full arched spans over composite pilasters protected by wrought iron railings and marble balustrades that open onto the crypt.
The square pulpits with a basin in stonework and based on a phytomorphic corbel with full gilded guards giving access through a straight lintel door topped by a centrally highlighted cornice with a modillion, the triumphal arch with a perfect round resting on composite pilasters.
The main chapel in pentagonal shape, domed roof, four straight lintel spans topped by an interrupted pediment with a monogram on the tympanum, two providing access to the crypt and the pulpit and two serving as a storage for candles, and two transom doors forming tribunes similar to the high choir.
The main altarpiece in marble with a concave plan is an axis structured by two Corinthian columns and pilasters resting on parallelepiped plinths with cushioned faces.
In the center, a round arched niche based on pilasters and columns, the first extending into an archivolt with decorated subsequent ones.
The structure ends in an entablature that rises in the central area with a relief representation of the Holy Trinity with a phylactery inferiorly crowned by a cartouche with a Marian monogram and angels holding the crown, repeating the scheme laterally.
On the front wall, two side chapels in round arches resting on marble pilasters and columns, coffered half-dome coverings and have a niche framed by a column and topped with an entablature containing imagery.
From these you access the corridor that communicates with the sacristy and benefactors' room and the vestibule through which you climb to the dome via wooden stairs, in several flights, and in the last section via a concrete spiral staircase.
From these, you can access the crypt through a tunnel connecting the large concrete enclosure decorated with tile panels representing the mysteries of the Rosary and the evangelizing work of the Portuguese.
The interior of the church with different barrel-vaulted roofs in the nave and dome in the main chapel is uniformly lit by open windows on the side facades.
The High Choir is based on a basket-wing arch with a stone balustrade guard, with two confronting pulpits and the Main Altarpiece in marble with a Baroque-inspired structure.
The high choir is based on two basket-wing arches protected by a stone balustrade highlighted in the center on an anthropomorphic corbel.
The sub-choir is lined with industrial polychrome blue, yellow and white tiles with inscriptions on marble support.
The transom doors end in a triangular pediment, that is, a triangular-shaped architectural set that decorates the top of the main facade of a building and is made up of 2 essential parts: the cymbal (the base) and the gables (two sides that close the triangle) comes from classical Greco-Roman architecture.
Inscribed in a full-arch opening with two side doors, one for the high choir and tower, and the other for storage space and are protected by a chestnut wood windshield.
Over the opening is the bay window with a rectangular base on two phytomorphic corbels and stone balusters.
The two large full arched spans over composite pilasters protected by wrought iron railings and marble balustrades that open onto the crypt.
The square pulpits with a basin in stonework and based on a phytomorphic corbel with full gilded guards giving access through a straight lintel door topped by a centrally highlighted cornice with a modillion, the triumphal arch with a perfect round resting on composite pilasters.
The main chapel in pentagonal shape, domed roof, four straight lintel spans topped by an interrupted pediment with a monogram on the tympanum, two providing access to the crypt and the pulpit and two serving as a storage for candles, and two transom doors forming tribunes similar to the high choir.
The main altarpiece in marble with a concave plan is an axis structured by two Corinthian columns and pilasters resting on parallelepiped plinths with cushioned faces.
In the center, a round arched niche based on pilasters and columns, the first extending into an archivolt with decorated subsequent ones.
The structure ends in an entablature that rises in the central area with a relief representation of the Holy Trinity with a phylactery inferiorly crowned by a cartouche with a Marian monogram and angels holding the crown, repeating the scheme laterally.
On the front wall, two side chapels in round arches resting on marble pilasters and columns, coffered half-dome coverings and have a niche framed by a column and topped with an entablature containing imagery.
From these you access the corridor that communicates with the sacristy and benefactors' room and the vestibule through which you climb to the dome via wooden stairs, in several flights, and in the last section via a concrete spiral staircase.
From these, you can access the crypt through a tunnel connecting the large concrete enclosure decorated with tile panels representing the mysteries of the Rosary and the evangelizing work of the Portuguese.
The interior of the church with different barrel-vaulted roofs in the nave and dome in the main chapel is uniformly lit by open windows on the side facades.
The High Choir is based on a basket-wing arch with a stone balustrade guard, with two confronting pulpits and the Main Altarpiece in marble with a Baroque-inspired structure.
In front of the Basilica in a small garden with a Chapel divided into 4 different rooms
On a higher level there is a small garden with flowerbeds (hydrangeas, roses, gardenias and begonias), olive trees, a stone statue with the figure of Jesus Christ with his hands open to Heaven.
In this space we also find a Chapel divided into four distinct rooms: the first is the Chapel of Ex-votos, the second the Chapel of São Bento, the third the Chapel of São Judas Tadeu and the fourth the Chapel of the Blessed Sacrament.
In this place, pilgrims light candles, make promises and leave their wax objects or photographs in a room through the grace achieved.
On the back side we can find a path where blue hydrangeas stand out, large trees, many bushes, pine trees and walls decorated with lawn, green plants and bathrooms for pilgrims.
In this space we also find a Chapel divided into four distinct rooms: the first is the Chapel of Ex-votos, the second the Chapel of São Bento, the third the Chapel of São Judas Tadeu and the fourth the Chapel of the Blessed Sacrament.
In this place, pilgrims light candles, make promises and leave their wax objects or photographs in a room through the grace achieved.
On the back side we can find a path where blue hydrangeas stand out, large trees, many bushes, pine trees and walls decorated with lawn, green plants and bathrooms for pilgrims.
The Zimbório is located in the Dome in the highest part of the Sameiro Sanctuary
The dome is the part that completes the Dome, which is considered the highest part of the Sameiro Sanctuary, placing us at a distance of more than 600 meters in altitude.
Some pilgrims and visitors risk climbing hundreds of stairs that take them to the highest point and from this point you can see the Gerês mountain range, the Cabreira mountain range, the Penha mountain range and the Franqueira mountain range, and on days with greater visibility it is possible to see the sea.
Some pilgrims and visitors risk climbing hundreds of stairs that take them to the highest point and from this point you can see the Gerês mountain range, the Cabreira mountain range, the Penha mountain range and the Franqueira mountain range, and on days with greater visibility it is possible to see the sea.
