Church of Saint Mary Magdalene

Category: Religious Architecture > Place of Worship

District: Viana do Castelo > Melgaço > Cruz > Chaviães e Paços

Location

Situated in the union of parishes of Chaviães and Paços, in the locality of Cruz, in Melgaço, the Church of Santa Maria Madalena is located in a churchyard. This space, delimited by a traditional stone wall, is slightly elevated, giving it a prominent presence in the local landscape. The main entrance of the church is accessed by a few steps, inviting approach.

Origins and Historical Evolution

The Church of Santa Maria Madalena boasts a history dating back to the Middle Ages. Documented since 1177, it was initially known as the Church of Santa Seginha or Seculina. In 1183, half of its property was donated by King Afonso Henriques to the town of Melgaço, an event that highlights its ancient relevance. During the 14th century, under the reign of King Dinis, it was considered the wealthiest parish church in the territory of Melgaço. Between the 16th and 18th centuries, it underwent several transformations, including the fusion of patrons that led to its current designation. In recognition of its historical and architectural importance, it was classified as a Monument of Public Interest in 2023.

Architecture and Exterior Characterization

The church building features a longitudinal structure, composed of a nave and a chancel. The robustness of its visible ashlar stone facades is one of its striking features. The main facade culminates in a gable, crowned by a Latin cross of ashlar stone. At the center, a portal with a perfect arch, featuring archivolts and imposts that display varied decoration and a tympanum, is surmounted by a molded circular oculus. Attached to the right side facade, a square-plan bell tower rises. This tower, with perfect arch openings for the bells in the upper part, is topped by a cornice, pinnacles at the corners, and a spire roof, contributing to its distinctive silhouette.

The Legacy of the Mural Paintings

The interior of the church preserves one of its most significant elements: the 16th-century mural paintings. These panels, which reveal the superposition of at least three layers of paint over time, extend across various areas, including the wall of the triumphal arch and the nave. The representations, framed by simple decorative borders, tell stories and display figures of particular iconographic interest.

Notably, for example, is the representation of the Magi, where Melchior is depicted as black and, less conventionally for the time, of a similar age to Gaspar. Also found are scenes from the life of Saint Roch, the figure of Saint Anthony with his attributes of crozier and pig, and Saint Bartholomew, represented with the flaying knife and, peculiarly to Iberian painting, with a black devil at his feet. The "Wild Man" scene symbolizes fertility. The diversity of composition and modeling styles in the frames and the figures themselves suggests the participation of several artists in the creation of this remarkable pictorial ensemble, which harmonizes with the Baroque-style altarpiece.

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