The monastery was founded in 1153 by donation from our first monarch to Bernard of Clairvaux. Some authors have suggested that immediately after this date, construction has started, according to a rigid plan Bernardine (most likely the de Fontenay) project known as historiographically Alcobaça I (COCHERIL). The truth however is that further studies rejected this hypothesis and now seems to be relatively the start of work only in 1178 (Gusmao, 1948).
This narrowing of the chronology of foundational work, between 1178 and mid-thirteenth century (the temple was consecrated in 1252), is far from being a constructive step unit. According to recent studies, three different times marked on the monument. The first phase belongs to the "general layout and construction of the convent (...) the most important part of the headboard, transept and choir of monks" (REAL, 1998: 89).
Because of a French master, clearly formed at Clairvaux (in which the Portuguese monument plan is affiliated), the choice was for a head with the chancel of double-leg (the second semi-circular), flanked by ambulatory which originally opened nine radiating chapels, with a trapezoidal rectangular wall Fundeira. One of his big news was the addition of buttresses to support the ambulatory, Gothic solution clearly and without parallel, so far, in our country.
When the work was the fifth leg of the body, has been a change in the orientation of the project. Among the changes made then, we highlight the different elevation of the craft, which became almost the same height, and the adoption of a repertoire of decorative capitals trend in Coimbra (IDEM: 89). Finally, the last two legs in front and are due to a third teacher, who wrapped up the set with a porch and the current main entrance, which overlapped a facade gable. Considering that the body of D. Alfonso II was moved to this porch in 1233, it is understood that the work was almost completed by that time (IDEM: 90).
Despite these differences, the range is impressive, even today, the sense of standardization of the elements which constitute the others that were not the primary guidelines Bernardines austerity and simplicity. The option for vegetal capitals (almost invisible in the mass media and vertical walls) and orderly pace of the legs of the body are the hallmarks of this trend more evident aesthetic so characteristic of the Cistercians, not without a suggestion forwarded by the military crest of continuous battlements (PEREIRA, 1995: 351).
In the first decades of the fourteenth century the cloister was built, it seems with the patronage of King Dinis. He was executed by architect Dominic Dominguez, whose name appears on a tombstone in situ. Artistically, it is a work that denotes' reluctance to program and shortenings (PEREIRA, 1995: 378), but whose capitals are thematically very varied and remarkable technical quality, since they have nothing to Romanesque. Must have existed, however, a first draft, which remain some traces (Almeida and BAROQUE, 2002: 40-41)
Over the following centuries, there have been many changes and works in the monastery. As the main pantheon of first royal dynasty, here we did bury D. And Peter D. Inês de Castro in two tombs of unparalleled quality at European level. Manueline, there were new works, such as the lobby of the sacristy and its portal and decorated in the Baroque, new achievements update aesthetics. Since neo-Gothic tombs of the room is opened for the southern branch of the transept.
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