The Cháteau d'Angers is a castle founded in the 9th century by the Counts of Anjou. It was expanded to its current size in the 13th century. Originally, the castle was built as a fortress at one of the sites inhabited by the Romans because of its strategic defensive location. In the 9th century, the Bishop of Angers gave the Counts of Anjou permission to build a castle in Angers. It became part of the Angevin empire of the Plantagenet Kings of England during the 12th century. In 1204, the region was conquered by Philip II and an enormous castle was built during the minority of his grandson, Louis IX in the early part of the 13th century. The construction undertaken in 1234 cost 4,422 livres, roughly one per cent of the estimated royal revenue at the time.
In 1352, King John II gave the castle to his second son, Louis who later became count of Anjou. Married to the daughter of the wealthy Duke of Brittany, Louis had the castle modified, and in 1373 commissioned the famous Apocalypse Tapestry from the painter Hennequin de Bruges and the Parisian tapestry-weaver Nicolas Bataille.Louis II and Yolande d'Aragon added a chapel (1405-12) and royal apartments to the complex. The chapel is a sainte chapelle, the name given to churches which enshrined a relic of the Passion. The relic at Angers was a splinter of the fragment of the True Cross which had been acquired by Louis IX. In the early 15th century, the hapless dauphin who, with the assistance of Joan of Arc would become King Charles VII, had to flee Paris and was given sanctuary at the Cháteau d' Angers.
In 1562, Catherine de' Medici had the castle restored as a powerful fortress, but her son, Henry III, reduced the height of the towers and had the towers and walls stripped of their embattlements; Henry III used the castle stones to build streets and develop the village of Angers. Nonetheless, under threat of attacks from the Huguenots, the king maintained the castle's defensive capabilities by making it a military outpost and by installing artillery on the cháteau's upper terraces. At the end of the 18th century, as a military garrison, it showed its worth when its thick walls withstood a massive bombardment by cannons from the Vendean army. Unable to do anything else, the invaders simply gave up.
A military academy was established in the castle to train young officers in the strategies of war. In a twist of fate, Arthur Wellesley, 1st Duke of Wellington, best known for taking part in the defeat of Napoleon Bonaparte at the Battle of Waterloo, was trained at the Military Academy of Angers. Still a part of the French military, the chateau was severely damaged during World War II by the Nazis when an ammunition storage dump inside the castle exploded.
Today, owned by the City of Angers, the massive, austere castle has been converted to a museum housing the oldest and largest collection of medieval tapestries in the world, with the 14th century "Apocalypse Tapestry" as one of its priceless treasures. As a tribute to its fortitude, the castle has never been taken by any invading force in history.References:
Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.