Mosteiro de Santa Maria de Coz-Alcobaça -Portugal - Abbeys, Convents and Monasteries on Waymarking.com

In 1531 received from D. Manuel the religious habit and then members of the Cistercian Order has maintained its connection to the Order inhabited for centuries and the monastery until the extinction of religious orders in 1834. The Monastery of Coz existed before May 6, 1279 was the year of Christ in 1241 and was D. Maria Peres I, its first abbess life. Besides the monastery dependencies exist as the granary, the winery and the source, which today are held by individuals. It is classified as building of national interest.
The former convent of Santa Maria of Cóz, located near of Alcobaça, remains at present little more than the church. The origins of this house are very remote convent, which is in the thirteenth century. They remain, however, some doubts about the foundation that, according to some historians, occurred in 1279 at the initiative of the D. Fernando, in fulfillment of a wish expressed in the will of D. Sancho I. On the other hand, there are reports that the first religious that women would be ensured the smooth functioning of the abbey of Alcobaça. The reality is that in mid-Two hundred, were an organized community, "with organic administrative frameworks clearly documented in Three hundred and Four hundred, testified that an explicit religious life" (SOUSA; GOMES, 1998, p. 66). It seems that only in 1532 embraced the rule of Cîteaux (COCHERIL, 1986, p. 341). The convent building followed, of course, the process of integration of religious, should be the beginning of its construction in the first decades of the sixteenth century (1519-27), the Cardinal D. Afonso (where John spoke of Castile), and conclusion to the Cardinal D. Henry (1560-62), the latter responsible for the dormitory, the old cloister, and the church (south of the new church, which is the chapel of Our Lady of Caramel) (COCHERIL, 1986, p. 343). In the second half of the seventeenth century, was the subject of the new campaign works, and in 1669 began to head the new church. In 1671 built up the new cloister, ended up the coverage of the nave and the portal, where this date falls. In the following years, until around 1716, it was the decoration process, which has given the church and its annexes of the gilded altars, coatings tiles and several paintings, converging, all these elements, for an update baroque aesthetic. The church, outside which denotes a strong austerity, presents plan to ship one that is articulated with the choir, and the chapel-mor, the highest. In the chorus, there is a castle door and so, quite possibly, a memory of the intervention estate, under the guidance of John de Castilho (SOUSA; GOMES, 1998, p. 96). The carvings, was implemented between the end of the seventeenth century and the beginning of next centurial (TRINIDAD, 1978, p. 430). Among the other works, won the special importance of the chapel altarpiece-mor, a national style, executed by the carver Domingos Lopes, Lisbon, according to the contract of March 9, 1676 (SOUSA, 1998, p. 151). The ceiling panels in which covers the ship, the choir, sacristy and the vestibule was executed by the painter Peter Peixoto (born in Braga and resident in Peniche) in next date of 1715 because this year is the contract for the work of the choir , Also stipulates that the program defined by religious iconographic of S. Bernard Priest Louis Thus, the 80 panels converge, through representations of saints, allegorical symbols and Virgin, for the exaltation of the Cistercian Order (COCHERIL, 1986, pp. 349-355; SERRÃO, 2000, p. 139). Finally, the ornamental tiles are spread over the body of the church and the choir, the latter dated 1716, and a standard outside the common, which combines a star of five points with tufts (SIMÕES, 1979, pp. 161-162 ). The whole more significant is the sacristy, where ten panels depicting the life of St. Bernard. Its source is the iconographic work "Vita et Miracula D. Bernardi Clarevalensis Abbatis," by Antonio Tempesti, printed in Rome in the year 1587. And his reading highlights the concern about the symmetry and there are five pairs of panels, evocative of the experience mystical and miraculous, so dear to the Baroque (COUNTRY, 1995-99). A final reference to the works of Josefa de Obidos, who worked for Cóz in 1669 and 1676, carrying out some paintings, now scattered.

Full name of the abbey/monastery/convent: Mosteiro de Santa Maria de Coz Address: Rua Principal Cóz, leiria Portugal 2460 Religious affiliation: Ordem Cisterciense Date founded/constructed: 1279 Status of Use: Acitvely Used Web Site: Not listed

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