Classified as National Heritage since 1910, the Church of Santo Quintino was built in 1520 by King D. Manuel I and is counted among the most beautiful temples of Manueline and Renaissance architecture. It is visited regularly by students and tourists, whom it invariably conquers by the diversity of its tiles, painting and sculpture, and regularly hosts choirs and classical music concerts.
The right side of the Manueline exterior portico features a broken arched door, probably remnant of a previous medieval temple dedicated to the cult of Santa Maria de Monte Agraço.
On that same side, in a card next to the portico, the date of 1530 is inscribed. It is not known whether this date refers to the resumption of the construction works of the church, which started 10 years earlier, or to the completion of the portal. This is surrounded by pilasters and a triangular pediment and the arch is framed by a gobleted composition, with a double upper frame and several decorative elements of Manueline and Renaissance style.
In the axial niche, which is flanked by two medallions with two busts, probably from the sponsors of the construction works of the church, the image of Santa Maria de Montagraço can be seen. Above the noble portal a small window opens, over which the triangular gable is drawn, topped by a pedestal with a Latin cross. The bell tower rises on two floors, marked above by baroque stoves and bulbous dome.
About the reason that led to the construction of a temple of this size in such a modest place, nothing is known. We assume that the documentation that could answer that question would have been lost during the great earthquake of 1755.
The Church, of remarkable quality, is located in the final phase of Manueline architecture and was the target of several interventions at different times, responsible for the combination of various artistic languages, from the Manueline to the Renaissance, going through 18th century Baroque reforms. This characteristic makes it a true showcase of tiles and distinctive architectural and artistic styles.
Its interior has three naves of five spans, divided by columns with capitals decorated with phytomorphic motifs, on which rest large round arches, decorated by carpet tiles, of a broad pattern. The ceilings are made of wood and the walls are covered with unique pattern tiles.
In the upper part of the walls we see large panels of carpet from the 17th century, while in the lower ashlar we find a characteristic motif of albarradas, already from the 18th century. In the middle of the central nave stands an unusual 16th century stone pulpit that preserves its picturesque decoration, representing the four evangelists, Mateus, Marcos, Lucas and João.
In front, the head is made up of the chancel and two collateral chapels provided with cross vaults with beams.
Five 16th century tablets are distributed throughout the church chapels, revealing an aesthetic similar to that of Giulio Romano. These paintings are of good plastic quality, from the beginnings of national mannerism and attributed to the so-called Mestre de S. Quintino, constituting what remains of the dismemberment of the Mannerist altarpiece that existed here.
On the triumphal arch of the chancel there is a coating of polychrome tiles from the 18th century, in which the Annunciation and Visitation to the Virgin Mary appear, and which border the Manueline niche, where we “discovered” the stone sculpture of Calvary.
The chancel's web is from the 17th century. On the top wall, the old altarpiece was replaced by a tile covering that was never used in such a function. Covering the front of the altar we find an important set of Hispanic-Moorish tiles and a Pietà - which is the patron saint of the church - Nossa Senhora da Piedade.
The 19th century side wall panels are allusive to the Annunciation and the Assumption of the Virgin. There are also two valuable 16th-century tablets, one on each side of the chapel, with the painting of the Visitation and the Encounter of Christ with the Virgin.
To the right of the chancel is the chapel dedicated to the patron saint of the church, Santo Quintino, decorated with 18th century tile panels that depict scenes depicting the martyrdom of the Saint. The dome has a decorative painting from the 17th century. Among many other elements, we see the representation of two crossed swords, which are allusive to the irons with which they martyred the Saint. On the altar are the 16th century images of Santo Quintino, which seems to have been sculpted in an immovable block, of Santa Luzia and S. Sebastião. Saint-Quentin is a French cult saint whose devotion was probably brought by the crusaders from the north of France who came to help the Portuguese kings in the Christian reconquest.
In Portugal, this is the only place where veneration of Santo Quintino, patron of the parish with the same name, is known. To him, devotees turn to ear diseases, headaches and protection from crops and granaries. It was also common to put the cap of the Saint on the children's heads so that they “acquired wisdom”.
To the left of the chancel, there is a chapel of invocation to S. Pedro, where the 16th century image of the Saint is venerated. The altar tiles are Hispanic-Moorish, as are the plain, green and white tiles, forming chess, that line the back wall. On the altar we find the third 16th century tablet with the representation of Calvary.
In the ashlars of 18th century tiles on the side walls, the life of São Pedro is depicted. Over the arch at the entrance to the chapel, the 18th century tile composition, from the same series as the triumphal arch, represents the Shipwreck.
The Chapel of the Santíssimo, which is located on the left side of the church, dates from the 19th century. XVIII. On each side wall there is a board, completing the series of five 16th century boards that represent Christ on the way to Calvary and the Deposition. The image of Santa Maria stands out on the altar. Despite having received several recovery interventions, the most profound already during the 20th century, these were not motivated by the destruction and looting caused by French troops during their stay in the region, since these were spared, having benefited from the fact that next to the temple an advanced headquarters of the Anglo-Portuguese army was established.
At the entrance to the church, on the left, is one of the most harmonious examples of 16th century baptistery. Designed by Simão Correia, it reveals a classic form in its small dome, supported by a set of thin columns that rest on the surrounding stonework cylinder.
The dome is covered with remarkable 17th-century diamond-tipped tiles, with eighteenth-century tiles inside, depicting the Baptism of Christ and the octagonal baptismal font, with a Renaissance flavour, based on a Gothic outline.
Next to the dome you can read the following inscription: “This is the baptismal chapel in which original sin washes away”.
Be sure to visit the Church of Santo Quintino, you will certainly be surprised. You can do it freely or accompanied by audio guides that you can pick up at the Sobral de Monte Agraço Tourism Office.
