Church of Our Lady of the Olive Tree

Category: Religious Architecture > Church

District: Lisboa > Torres Vedras > Lapas Pequenas

Location:

The Church of Nossa Senhora da Oliveira is situated in the tranquil locality of Lapas Pequenas, belonging to the municipality of Torres Vedras. Integrated within the urban fabric of the village, the church is preceded by a walled atrium, partially shaded by trees, which is accessed via a staircase. This setting offers a serene environment, typical of small Portuguese rural communities.

The Legend and Origins:

The history of the Church of Nossa Senhora da Oliveira is deeply linked to an ancient local legend. It is said that the very origin of the village and the patron saint of the temple are due to the apparition of the Virgin Mary on an olive tree, next to a hermitage dedicated to the Holy Spirit. The growing influx of pilgrims and devotees motivated the construction of a temple to venerate the image. However, the legend narrates that the image disappeared several times as soon as the construction was completed, a mystery that led to the decision to erect the building in stone, giving it lasting solidity. This church, as we see it today, was mostly rebuilt and enriched between the 17th and 18th centuries, with some sepulchral slabs dating back to the 17th century.

Architectural Features:

The church presents a predominantly Baroque religious architecture, although it retains some Mannerist elements. Its main facade, or frontispiece, is notable for the curved pediment that crowns it and the tympanum decorated with circular motifs. The entrance portal, with its own circular pediment, harmoniously connects to a triangular pedimented window that stands out on the cornice. On the left side of the building, slightly set back, stands the bell tower, topped by a graceful dome and framed by decorative elements known as volutes, which give it a distinctive Baroque touch.

The Artistic Richness of the Interior:

Inside, the Church of Nossa Senhora da Oliveira reveals remarkable artistic richness. The single nave is embellished by a tile dado with checkered geometric designs, characteristic of the Mannerist period, and enhanced by stucco work. The choir loft and a quadrangular pulpit stand out. Along the nave, there are four side altars, all with elaborate carved altarpieces. At the transition to the main chapel, the triumphal arch is flanked by tiles with Marian symbols, created by master Bartolomeu Antunes. The main chapel is one of the highlights, with tile panels that extend to the cornice, illustrating scenes from the life of the Virgin and Jesus, dated 1736 and attributed to master P. M. P. The gilded carved altarpiece of this chapel is an example of the national style, adorned with beautiful images and angels, and a spherical tabernacle that radiates a sun. The segmented barrel vault ceiling, both in the nave and the main chapel, completes this setting of faith and art.

License: https://creativecommons.org/licenses/by-sa/4.0/deed.pt