The Church of Mercy, located in the Parish of St. Mary Major (Chaves) was installed in 1580. However, his church was only built in the second half of the seventeenth century and is marked by an exuberant Baroque aesthetic and harmonious.
Access to the church of Mercy is performed by a wide staircase. Proportionality and harmony underscore the facade of this temple in the second half of the seventeenth century, adopting a refined baroque grammar.
The wedges are marked in front by pilasters and granite capitelizadas. The ground floor is open for three arched openings of the grid, which provide a starting gate. Addorsed its pillars are four spiral columns of Corinthian capitals and based on pedestals decorated scheme that is repeated on the upper floor and on an entablature noted, three bay windows flanking and right spar with balustrade. The strong cornice is marked by massive pinnacles and bulging in the middle of which stands a crown flanked by fins and scrolls surrounding a central niche with a bas-relief commemorating the glorification of Mercy, curved pediment surmounted by stopped and topped by a Latin cross.
Above the lobby is located in the choir. The church body is a single nave, with its valued walls with tile flooring of the eighteenth century, drawing outlined architectures that fall episodes of the Old and New Testament. The roof of the church is painted with a Visitation, composition performed in 1743 by the painter Jerome Braga da Rocha.
The chancel presents a grand and gilded altarpiece, baroque composition of the eighteenth century, while the vestry has some quality paintings, including a table of the seventeenth century and allusive to Purgatory.
Access to the church of Mercy is performed by a wide staircase. Proportionality and harmony underscore the facade of this temple in the second half of the seventeenth century, adopting a refined baroque grammar.
The wedges are marked in front by pilasters and granite capitelizadas. The ground floor is open for three arched openings of the grid, which provide a starting gate. Addorsed its pillars are four spiral columns of Corinthian capitals and based on pedestals decorated scheme that is repeated on the upper floor and on an entablature noted, three bay windows flanking and right spar with balustrade. The strong cornice is marked by massive pinnacles and bulging in the middle of which stands a crown flanked by fins and scrolls surrounding a central niche with a bas-relief commemorating the glorification of Mercy, curved pediment surmounted by stopped and topped by a Latin cross.
Above the lobby is located in the choir. The church body is a single nave, with its valued walls with tile flooring of the eighteenth century, drawing outlined architectures that fall episodes of the Old and New Testament. The roof of the church is painted with a Visitation, composition performed in 1743 by the painter Jerome Braga da Rocha.
The chancel presents a grand and gilded altarpiece, baroque composition of the eighteenth century, while the vestry has some quality paintings, including a table of the seventeenth century and allusive to Purgatory.
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