The Palácio de São Bento is the home of the Assembly of the Republic, the Portuguese parliament. The Palace has its origin in the first Benedictine monastery of Lisbon, established in 1598. In 1615, the monks settled in the area of the Casa da Saúde (Health House), that housed people sick with the plague. The new monastery was built during the 17th century following a Mannerist project by Jesuit architect Baltazar Álvares, later followed by João Turriano. The large building, of rectangular shape, had a church flanked by two towers, four cloisters, dormitories, kitchen, etc. When the construction works of the new building were almost finished, the destructive 1755 Lisbon earthquake damaged it.
After the Liberal Revolution (1820) and the suppression of religious orders in Portugal (1834), the monks were expelled from the monastery and the Portuguese Parliament was installed in the building. From then on, the old monastery was systematically adapted to its new functions. The first architect in charge was Possidónio da Silva, who designed the first session rooms.
The Chapter house of the monastery was totally remodelled by French architect Jean François Colson into a session room in 1867. The Portuguese Chamber of Peers met here until 1910, followed by the Senate and later the Corporative Chamber in this room, until the 1976 Constitution established unicameralism.
In 1895, a fire destroyed the session room of the lower house, and it was necessary to repair and expand the Parliament building. Portuguese architect Miguel Ventura Terra was put in charge of the remodelling project, which lasted until the 1940s. Ventura Terra built a new session room for the lower house (inaugurated in 1903) and altered the façade of the building, adding a neoclassical portico with columns and a triangular pediment. He also remodelled the atrium, the monumental inner stairway and many other rooms. The works were continued in the 1920s by architect Adolfo Marques da Silva.
In the 1940s, during Salazar's Estado Novo regime, the monumental stairway in front of the portico of the Parliament was completed. The stairway was designed by Cristino da Silva, who was also responsible for the project of the gardens in the back of the Palace.
Since Portugal became a democracy after the 1974 Carnation Revolution the area in front of the palace has been the most popular location for demonstrations held in Lisbon.
In 1999 an annex building was inaugurated near the old Palace. This modern structure was designed by Fernando Távora and allowed for an expansion of the space of the Portuguese Assembly without altering its historical outlook.
Just behind the main building there is a mansion that serves as residence for the Prime Minister of Portugal. The mansion, dated from 1877, was built within the garden of the old monastery. It has been the Prime Minister's official residence since 1938, when Salazar moved in.References:
The Cathedral of Limburg is one of the best preserved late Romanesque style buildings. It is unknown When the first church was built above the Lahn river. Archaeological discoveries have revealed traces of a 9th-century church building in the area of the current chapel. It was probably built in Merovingian times as a castle and the chapel added in the early 9th century.
In 910 AD, Count Konrad Kurzbold (cousin of the future King Konrad I) founded a collegiate chapter of 18 canons, who lived according to the rule of Bishop Chrodegang of Metz, on the hilltop site. The original castle chapel was torn down and a three-aisled basilica was built in its place. The foundations of this basilica have been found beneath the present floor.
The construction of current cathedral is dated to 1180-90. The consecration was performed in 1235 by the archbishop of Trier. It seems certain that the cathedral was built in four stages. The first stage encompassed the west facade, the south side aisle, the choir and the transept up to the matroneum. This section forms the Conradine church. The second stage consisted of the addition of the inner pillars of the south nave. In this stage the bound system was first introduced. In the third phase, the matroneum in the southern nave was built. The fourth stage included the north side of the transept and the choir matroneum. By this stage Gothic influence is very clear.
The interior was destroyed by Swedish soldiers during the Thirty Years War (1618-48) and reconstructed in a late Baroque style in 1749. The Baroque renovation was heavy-handed: the surviving medieval stained glass windows were replaced; all the murals were covered up; the ribs of the vaults and columns of the arcades were painted blue and red; the capstones were gilded; the original high altar was replaced. The colorfully painted exterior was coated in plain white and the central tower was extended by 6.5 meters.
The collegiate chapter of Limburg was dissolved in 1803 during the Napoleonic period, but then raised to the rank of cathedral in 1827 when the bishopric of Limburg was founded. Some renovations in contemporary style followed: the walls were coated white, the windows were redone in blue and orange (the heraldic colors of the Duke of Nassau) and towers were added to the south transept (1865).
Further changes came after Limburg was incorporated into the Kingdom of Prussia in 1866. It was now the Romantic period and the cathedral was accordingly restored to an idealized vision of its original Romanesque appearance. The exterior stonework was stripped of all its plaster and paint, to better conform with the Romantic ideal of a medieval church growing out of the rock. The Baroque interior was stripped away and the wall paintings were uncovered and repainted.
Further renovations came in 1934-35, enlightened by better knowledge of the original art and architecture. Art Nouveau stained glass windows were also added. A major restoration in 1965-90 included replastering and painting the exterior, both to restore it to its original appearance and to protect the stonework, which was rapidly deteriorating while exposed to the elements.
The interior is covered in medieval frescoes dating from 1220 to 1235. They are magnificent and important survivals, but time has not been terribly kind to them - they were whitewashed over in the Baroque period (1749) and uncovered and repainted with a heavy hand in the Romantic period (1870s) before finally being restored more sensitively in the 1980s.