Лиссабонның Жеронимиш монастыры

Building in Santa Maria de Belém, Lisbon District, Portugal

The Jerónimos Monastery or Hieronymites Monastery (Mosteiro dos Jerónimos, muʃˈtɐjɾu ðu(ʒ) ʒɨˈɾɔnimuʃ) is a former monastery of the Order of Saint Jerome near the Tagus river in the parish of Belém, in the Lisbon Municipality, Portugal. It became the necropolis of the Portuguese royal dynasty of Aviz in the 16th century but was secularized on 28 December 1833 by state decree and its ownership transferred to the charitable institution, Real Casa Pia de Lisboa. The Jerónimos Monastery is one of the most prominent examples of the late Portuguese Gothic Manueline style of architecture in Lisbon. It was erected in the early 1500s near the launch point of Vasco da Gama's first journey, and its construction funded by a tax on the profits of the yearly Portuguese India Armadas. In 1880, da Gama's remains and those of the poet Luís de Camões (who celebrated da Gama's first voyage in his 1572 epic poem, The Lusiad), were moved to new carved tombs in the nave of the monastery's church, only a few meters away from the tombs of the kings Manuel I and John III, whom da Gama had served. In 1983, the Jerónimos Monastery was classified as a UNESCO World Heritage Site, along with the nearby Tower of Belém.

The Jerónimos Monastery replaced the church formerly existing in the same place, which was dedicated to Santa Maria de Belém and where the monks of the military religious Order of Christ provided assistance to seafarers in transit. The harbour of Praia do Restelo was an advantageous spot for mariners, with a safe anchorage and protection from the winds, sought after by ships entering the mouth of the Tagus. The existing structure was inaugurated on the orders of Manuel I (1469–1521) at the courts of Montemor o Velho in 1495, as a final resting place for members of the House of Aviz, in his belief that an Iberian dynastic kingdom would rule after his death. In 1496, King Manuel petitioned the Holy See for permission to construct a monastery at the site.

The construction of the monastery and church began on 6 January 1501, and was completed 100 years later. A new portal was constructed in 1625, as well as the cloister door, the house of the doorkeepers, a staircase and a hall that was the entrance to the upper choir designed by the royal architect Teodósio Frias and executed by the mason Diogo Vaz. Many of the artworks and treasures were either transferred to the crown or lost during this period. Further remodelling of the monastery was begun in 1898 subsequent to the work done by Parente da Silva in 1895 on the central annex, now simplified, as well as restoration of the cadeirals (the chairs used by the clergy in religious services), which were completed in 1924 by sculptor Costa Mota. This shrine like portal is large, high and wide, extending two stories. Its ornate features includes an abundance of gables and pinnacles, with many carved figures standing under a baldachin in carved niches, around a statue of Henry the Navigator, standing on a pedestal between the two doors. The tympanum, above the double door, displays, in half relief, two scenes from the life of Saint Jerome: on the left, the removal of the thorn from the lion's paw and, on the right, the saint's experience in the desert. In the spandrel between these scenes is the coat of arms of king Manuel I, while the archivolt and tympanum are covered in Manueline symbols and elements. The Madonna (Santa Maria de Belém) is on a pedestal on top of the archivolt, surmounted by the archangel Michael, while above the portal there is a cross of the Order of Christ. The portal is harmoniously flanked on each side by a large window with richly decorated mouldings.

Although of smaller dimensions than the southern doorway, this is the most important door to the Jerónimos because of its ornamentation and its position in front of the main altar. Two angels hold the arms of Portugal, close to the archivolt. The splays on each side of the portal are filled with statues, among them are statues of King Manuel I and Queen Maria of Aragón kneeling in a niche under a lavishly decorated baldachin, flanked by their patrons: Saint Jerome and Saint John the Baptist, respectively. Each set of ribs in the vaulting is secured by bosses. The bold design (1522) of the transversal vault of the transept lacks any piers or columns, while Boitac had originally planned three bays in the transept. The transept's unsupported vault gives the visitor the impression that it floats in the air. Castilho also decorated the six 25 metre high, slender, articulated, octagonal columns with refined grotesque or floral elements typical of the Renaissance style. The construction of this late Gothic hall is aesthetically and architecturally a masterwork: it augments the spatial effect of this vast building. The northern column closest to the transept there is a medallion that may have been intentionally included as a portrait of Boitac or Juan de Castilho. At the end of the side aisles and on both sides of the choir are altars (also in the Manueline style) dating from the 16th and the 17th centuries. They are decorated with carved wood and plated in golden and green pigment, and one of them supports the image of Saint Jerome in multi coloured enamelled terracotta. This chancel was ordered by Queen Catherine of Austria as the final resting place for the royal family. It is the work of Jerónimo de Ruão (Jean de Rouen) in the Classical style. The royal tombs rest on marble elephants and are set between Ionic pillars, topped by Corinthian pillars. The tombs on the left side of the choir belong to King Manuel I and his wife Maria of Aragon, while the tombs on the right side belong to King João III and his wife Catherine of Austria.

Within the church, in the lower choir, are the stone tombs of Vasco da Gama (1468–1523), and of the great poet and chronicler of the Age of Discoveries, Luís de Camões (1527–1580). Both tombs were sculpted by the 19th century sculptor Costa Mota in a harmonious neo Manueline style. The mortal remains of both were transferred to these tombs in 1880.

Work on the vast square cloister (55 × 55 m) of the monastery was begun by Boitac. He built the groin vaults with wide arches and windows with tracery resting on delicate mullions. Juan de Castilho finished the construction by giving the lower storey a classical overlay and building a more recessed upper storey. The construction of such a cloister was a novelty at the time. Castilho changed the original round columns of Boitac into rectangular ones, and embellished it with Plateresque style ornamentation. Each wing consists of six bays with tracery vaults. The four inner bays rest on massive buttresses, forming broad arcades. The corner bays are linked by a diagonal arched construction and show the richly decorated corner pillars. The cloister had a religious function as well as a representative function by its decorative ornamentation and the dynastic symbolic motives, such as the armillarium, coat of arms, and the cross from the Order of Christ, showing the growing world power of Portugal. The inside walls of the cloister have a wealth of Manueline motives with nautical elements, in addition to European, Moorish and Eastern motifs. The round arches and the horizontal structure are clearly in line with the Renaissance architectural style, while at the same time there is also a relationship with Spanish architecture. The decorations on the outer walls of the inner courtyard were made in Plateresco style by Castilho: the arcades include traceried arches that give the construction a filigree aspect. In one of these arcades is the sober tomb of the poet Fernando Pessoa, while several other tombs in the chapterhouse contain the remains of the poet and playwright Almeida Garrett (1799–1854), the writer historian Alexandre Herculano (1810–1877), former presidents Teófilo Braga (1843–1924) and Óscar Carmona (1869–1951). The refectory across the chapter house has several azulejos tiles from the 18th century. In an addition added to the monastery after the 1850 restoration, the Museu Nacional de Arqueologia (National Archaeological Museum) and the Museu da Marinha (Maritime Museum) were established (in the west wing).