PT: "Arquitectura religiosa, maneirista, rococó e neoclássica. Igreja de Misericórdia de planta longitudinal de nave única e presbitério, interiormente coberta com tecto de madeira e iluminada pelas janelas laterais, com sacristia e sala do Despacho adossada à fachada lateral, aberta para a nave através de tribuna. Fachada principal terminada em frontão sem retorno truncado por sineira, rasgada por portal em arco de volta perfeita e com imagem da Virgem inserida em nicho do tímpano. Fachadas laterais com porta travessa e janelas de capialço. Interiormente possui silhar de azulejos maneiristas, tipo "tapete", duas capelas laterais em arco de volta perfeita, dois retábulos de talha rococó, púlpito no lado do Evangelho, de bacia rectangular sobre mísula e guarda plena de talha, e ampla tribuna com colunas toscanas no lado da Epístola. Presbitério acedido por escadas frontais e parede testeira formando a capela-mor e duas colaterais em cantaria, com retábulo-mor neoclássico, de talha policroma, de planta convexa e um eixo. Casa do despacho com tecto barroco, em caixotões de talha formando painéis pintados com motivos vegetalistas. Igreja de fundação quinhentista, mas de traçado essencialmente maneirista, remodelada decorativamente no séc. 18 e 19. Apresenta volume trapezoidal devido aos acréscimos feitos ao longo do séc. 16, conservando dessa época o portal da fachada lateral direita, em arco de volta perfeita com chanfro, e janelas igualmente com chanfro, enquanto que a modinatura dos vãos da fachada oposta é já do séc. 17. A fachada principal, com portal em arco de volta perfeita deve ter sido redecorado no séc. 17, lavrando-se os falsos colunelos, e a zona superior talvez na centúria seguinte, com a feitura do remate em frontão sem retorno, coroado pelos plintos decorados, e com a colocação da sineira e respectivas aves laterais, seguindo uma tipologia muito comum no distrito, em detrimento da sineira já existente sobre a fachada lateral, como é comum nas Misericórdias. As duas janelas e o pequeno vão sob a cornija que foram rasgadas entre o 18 e o 19, foram recentemente entaipadas, mantendo-se, no entanto, as suas molduras interiores. Exteriormente, refira-se ainda a colocação de nichos, de diferente modinatura, com imagens pétreas da Virgem e de Santa Bárbara, também de diferente tratamento, nos cunhais posteriores do imóvel. No interior, o coro-alto foi apeado e o silhar de azulejos seiscentistas de diferentes padrões reaproveitados, um deles de padrão de massaroca com a variante de ondulados, deverão ser os restos do antigo revestimento colocado em 1672, os quais poderiam surgir sobrepostos, como era comum, ou pertencer a dois espaços distintos, posteriormente remodelados. Das capelas laterais da nave, apenas a do lado da Epístola conserva a estrutura arquitectónica envolvente maneirista, ainda com pinturas murais, mas os retábulos de talha dourada que albergava, em barroco de transição, foram recentemente apeados para deixar à vista as mesmas pinturas. No retábulo lateral do Evangelho é notório o contraste entre a qualidade do corpo e a mesa de altar do mesmo, a qual tem qualidade inferior; no retábulo da Epístola, os motivos fitomórficos e os arabescos laterais vazados são pouco comuns no rococó e a base saliente revela influência da Escola de Braga. Constitui a única Misericórdia do distrito com tribuna dos mesários, aberta para a nave. Conserva a antiga cabeceira maneirista, com as típicas três capelas, a central mais alta, em abóbada de berço, modificada e entaipada no séc. 18 para a colocação do retábulo-mor, mas conservando atrás deste parte da sua estrutura primitiva, em caixotões com vestígios de policromia. O tipo de planta convexa do retábulo-mor e do remate do ático formando superfície côncava e em feixe de acantos é pouco comum no neoclássico."
EN: "Religious, mannerist, rococo and neoclassical architecture. Church of Misericórdia with a longitudinal plan with a single nave and presbytery, interiorly covered with a wooden ceiling and illuminated by the side windows, with a sacristy and an Office room attached to the side facade, open to the nave through a tribune. Main facade ending in a pediment with no return truncated by a bell tower, torn by a portal in an arch with a perfect turn and with an image of the Virgin inserted in a niche of the tympanum. Side facades with transom door and cornice windows. Inside, it has ashlar of Mannerist tiles, "carpet" type, two side chapels with a perfect round arch, two rococo carvings, pulpit on the Gospel side, with a rectangular basin over a corbel and full guard in carving, and a wide tribune with Tuscan columns. on the Epistle side. Presbytery accessed by front stairs and front wall forming the chancel and two side in stonework, with a neoclassical high altarpiece, with polychrome carving, with a convex plan and an axis. Dispatch house with Baroque ceiling, in carved coffered panels forming painted panels with plant motifs. Church founded in the 16th century, but with an essentially Mannerist layout, decoratively remodeled in the 16th century. 18 and 19. It has a trapezoidal volume due to the additions made throughout the 19th century. 16, conserving the portal on the right side façade from that time, in a round arch with a chamfer, and windows also with a chamfer, while the modinature of the openings on the opposite façade dates from the 16th century. 17. The main façade, with a perfect arched portal, must have been redecorated in the 19th century. 17, plowing up the false columns, and the upper area, perhaps in the following century, with the finishing in a pediment with no return, crowned by decorated plinths, and with the placement of the bell tower and respective lateral birds, following a very common typology in the district, to the detriment of the existing bell tower above the side facade, as is common in Misericórdias. The two windows and the small opening under the cornice that were torn between the 18th and 19th were recently boarded up, retaining, however, their interior frames. Externally, it is also worth mentioning the placement of niches, of different modinature, with stone images of the Virgin and Santa Bárbara, also of different treatment, in the back corners of the property. Inside, the high choir was dismounted and the ashlar of 17th century tiles of different patterns were reused, one of them with a massaroca pattern with the wavy variant, must be the remains of the old coating placed in 1672, which could appear superimposed, as was common, or belong to two different spaces, later remodeled. Of the side chapels in the nave, only the one on the Epistle side retains the surrounding Mannerist architectural structure, still with mural paintings, but the gilded altarpieces it housed, in transitional Baroque, were recently removed to reveal the same paintings. In the side altarpiece of the Gospel, the contrast between the quality of the body and the altar table of the same, which is of inferior quality, is notorious; in the Epistle altarpiece, phytomorphic motifs and hollow lateral arabesques are uncommon in Rococo and the projecting base reveals the influence of the School of Braga. It is the only Misericórdia in the district with a tribune for the pollsters, open to the nave. It preserves the old Mannerist apse, with the typical three chapels, the highest central one, in a barrel vault, modified and boarded up in the 16th century. 18 for placing the main altarpiece, but keeping part of its original structure behind it, in caissons with traces of polychrome. The type of convex plan of the main altarpiece and the attic top forming a concave surface and in a bundle of acanthus is uncommon in the Neoclassical. in coffers with traces of polychrome. The type of convex plan of the main altarpiece and the attic top forming a concave surface and in a bundle of acanthus is uncommon in the Neoclassical. in coffers with traces of polychrome. The type of convex plan of the main altarpiece and the attic top forming a concave surface and in a bundle of acanthus is uncommon in the Neoclassical."
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