Edifícios de religiosos de planta centralizada dos séculos XVI, XVII e XVIII

Abstract

Buildings laid out with a central focal point in the shape of a polygon such as a circle, a square, a hexagon or an octagon are a constant, albeit discrete, presence in western architecture. Although this feature is sometimes to be found in lay-buildings, it is most commonly associated with religious buildings and it is in such places of worship, be they Christian or pagan, that the best-known examples can be seen. Although cases of constructions with a centralized focal point date back to ancient times, seemingly to serve as a communal area such as the case of the Greek tholos, their shape has always aroused curiosity. The main reason for the construction of such buildings has to do with the inherent significance of their form which, in spite of different interpretations, remains unchanged. The symbolism attributed to polygons gives them the power of union, longevity and rebirth, such as in the case of baptisteries, but also of death and mystery, as can be seen with mausoleums. Portugal can not be said to be a country where the existence of buildings with a polygonal central focal point is very prevalent. Since the 16th century, sporadic examples have cropped up, generally receiving royal or religious patronage. Evident, albeit slight, was the influence of the Italian Renaissance which had brought these shapes back into usage from ancient times. However, in certain regions of our country, nuclei of constructions of this kind developed which were characterised as much for their distance from the prevailing architectural trends in Portugal as for their tiny dimensions and their regional character. During the 16th, 17th, and 18th centuries, 14 chapels with a central layout in the shape of a circle, a hexagon or an octagon were built in Aveiro. However, this nucleus stands out in the world of architecture of the age as it was not supported by royal patronage but was rather the fruit of local religious devotion. This nucleus is even more interesting when it is taken into account that the majority of its chapels were of a hexagonal design with just two being octagonal whereas in the rest of the country this trend was reversed; that is to say that there was a greater prevalence of octagonal designs over hexagonal ones. Aveiro can therefore be looked upon as an exception in 17th century culture and as such a theme for study when considering the significance of form