PT: "Arquitectura religiosa, maneirista, barroca e rocócó. Capela de planta longitudinal composta por nave única e capela-mor, interiormente semicircular, interiormente cobertas por abóbada de berço, formando caixotões, e iluminada pelos vãos axiais e laterais, tendo adossado torre sineira em eixo, e uma outra, sacristia e sala do despacho à fachada lateral direita. Fachadas com pilastras nos cunhais coroadas por fogaréus e terminadas em friso e cornija. Fachada principal definida por duplas colunas sobre plintos com concheados, suportando entablamento, curvo ao centro e no interior do qual se rasgam os vãos em eixo, composto por portal de arco canopial e óculo, de molduras recortadas e envoltas por concheados e elementos fitomórficos, a partir do qual se desenvolve o remate da fachada, em empena contracurvada, ritmada por pilastras e com cartela central envolta em igual decoração, coroada por estátuas. Fachada lateral esquerda com janelas rectangulares de capialço e porta travessa de verga recta e a lateral direita com sacristia e casa do despacho com vãos sobrepostos, a última com janelas de sacada sobre mísulas. Interior com silhar de azulejos figurativos rococós, com cenas alusivas à vida de São Paulo, coro-alto assente em arco abatido, prolongando-se lateralmente para o coreto do órgão, quatro capelas laterais com retábulos de talha dourada maneirista, de planta recta e um eixo, púlpito lateral, e retábulo-mor em talha dourada barroca, de planta recta e um eixo. Apresenta muitas semelhanças com a Capela do Palácio de Mateus (v. PT011714150004), com a Igreja do Carmo no Porto (v. PT011312150182), ambas atribuídas a Figueiredo Seixas, discípulo de Nicolau Nasoni, e com a Capela de Arroios (v. PT011714040021), com as quais partilha a acentuada verticalidade. Esta verticalidade é conferida não só pelo remate em empena, bastante alta, mas também pela colocação de colunas à frente de pilastras no corpo da capela, prolongadas na empena e acentuadas pelas estátuas sobre plintos, e, por último, pela colocação dos vãos em eixo alteando a cornija da fachada, onde forma arco. A fachada principal, tem impacto cenográfico no contexto urbano, resultando num dos melhores exemplares da arquitectura religiosa no concelho de Vila Real. Possui ainda exuberância decorativa, com a utilização de festões, concheados e elementos fitomórficos recortados. Contrastante com esta fachada nitidamente rococó, surgem as restantes, de construção maneirista, de superfícies lisas, linhas austeras e decoração sóbria; a do corpo da sacristia e casa do despacho deveria ter inicialmente três pisos, visto surgirem sobre as janelas de sacada da casa do despacho o arranque de outras sacadas, sobre mísulas. A torre da fachada posterior, solução característica do barroco bracarense, e existente também na capela da Quinta de Mateus, alonga o volume do edifício e incrementa a grandiosidade das suas proporções; supostamente encontra-se incompleta, tendo em conta a desproporção entre a espessura das fundações e das paredes e a sua altura. Interiormente, os elementos de cantaria das capelas, coro, abóbadas e janelas apresentam pinturas policromas, umas possivelmente ainda do séc. 18, mas outras já do 19, nomeadamente as do capialço das janelas com motivos a grisaille. O retábulo de São Judas Tadeu, seguindo a tratadística de Vignola, apresenta colunas com motivos invulgares em ziguezague, duas delas com motivos perlados no meio, e o das Almas é também maneirista, mas foi reformado no período rococó, com a introdução de uma maquineta central; os dois outros retábulos laterais, são já de transição, possuindo estrutura maneirista, mas tendo colunas torsas com decoração barroca e aletas mais elaboradas. O retábulo-mor, em barroco de transição, possuindo esquema nacional, mas tendo profusão decorativa joanina, é bastante elementar, sendo constituído apenas pela tribuna e respectivos elementos arquitectónicos. É enquadrado por dois amplos painéis pintados, alusivos ao orago, com molduras de talha joanina, adaptando-se ao perfil curvo da capela-mor, solução pouco usual no distrito."
EN: "Religious, Mannerist, Baroque and Rococo architecture. Longitudinal plant consisting of a single nave and chancel, internally semicircular, internally covered by a barrel vault, forming caissons, and illuminated by the axial and lateral spans, having adjoined a bell tower in axis, and another, sacristy and office room. to the right side facade. Facades with pilasters on the corners crowned by fires and ending in frieze and cornice. Main facade defined by double columns on plinths with shells, supporting an entablature, curved at the center and inside which the shafts are torn, composed of a portal with a canopy arch and an oculus, with cut-out frames and surrounded by shells and phytomorphic elements, the from which the end of the facade develops, in a counter-curved gable, rhythmic by pilasters and with a central cartouche surrounded by the same decoration, crowned by statues. Left side façade with rectangular cornice windows and straight lintel transom door and the right side with sacristy and office with overlapping openings, the last one with bay windows over corbels. Interior with ashlar of Rococo figurative tiles, with scenes alluding to the life of São Paulo, high choir based on a lowered arch, extending laterally towards the bandstand of the organ, four side chapels with Mannerist gilded altarpieces, with a straight plan and a axis, lateral pulpit, and main altarpiece in baroque gilded carving, with a straight plan and an axis. It has many similarities with the Capela do Palácio de Mateus (see PT011714150004), with the Igreja do Carmo in Porto (see PT011312150182), both attributed to Figueiredo Seixas, disciple of Nicolau Nasoni, and with the Capela de Arroios (see PT011714040021), with which it shares its accentuated verticality. This verticality is conferred not only by the very high gable finish, but also by the placement of columns in front of pilasters in the body of the chapel, extended on the gable and accentuated by the statues on plinths, and, finally, by the placement of the spans in an axis. raising the cornice of the facade, where it forms an arch. The main façade has a scenographic impact on the urban context, resulting in one of the best examples of religious architecture in the municipality of Vila Real. It also has decorative exuberance, with the use of festoons, shells and cut phytomorphic elements. Contrasting with this distinctly rococo façade, the others appear, of mannerist construction, with smooth surfaces, austere lines and sober decoration; that of the sacristy and dispatch house should initially have three floors, as other balconies appear over the bay windows of the dispatch house, on corbels. The tower on the rear façade, a characteristic solution of the Baroque style in Braga, and also found in the chapel of Quinta de Mateus, elongates the volume of the building and increases the grandeur of its proportions; supposedly it is incomplete, taking into account the disproportion between the thickness of the foundations and walls and their height. Inside, the stonework elements of the chapels, choir, vaults and windows have polychrome paintings, some possibly from the 19th century. 18, but others from the 19th, namely those on the windowsills with grisaille motifs. The altarpiece of São Judas Tadeu, following Vignola's treatise, it has columns with unusual zigzag motifs, two of them with beaded motifs in the middle, and that of the Almas is also Mannerist, but was renovated in the Rococo period, with the introduction of a central dobby; the two other side altarpieces are already in transition, with a Mannerist structure, but with twisted columns with Baroque decoration and more elaborate ribs. The main altarpiece, in transitional Baroque, with a national scheme, but with a Joanine decorative profusion, is quite elementary, consisting only of the tribune and respective architectural elements. It is framed by two large painted panels, alluding to the patron saint, with Joanine carvings frames, adapting to the curved profile of the chancel, an unusual solution in the district. and that of the Almas is also Mannerist, but was renovated in the Rococo period, with the introduction of a central machine; the two other side altarpieces are already in transition, with a Mannerist structure, but with twisted columns with Baroque decoration and more elaborate ribs. The main altarpiece, in transitional Baroque, with a national scheme, but with a Joanine decorative profusion, is quite elementary, consisting only of the tribune and respective architectural elements. It is framed by two large painted panels, alluding to the patron saint, with Joanine carvings, adapting to the curved profile of the chancel, an unusual solution in the district. and that of the Almas is also Mannerist, but was renovated in the Rococo period, with the introduction of a central machine; the two other side altarpieces are already in transition, with a Mannerist structure, but with twisted columns with Baroque decoration and more elaborate ribs. The main altarpiece, in transitional Baroque, with a national scheme, but with a Joanine decorative profusion, is quite elementary, consisting only of the tribune and respective architectural elements. It is framed by two large painted panels, alluding to the patron saint, with Joanine carvings frames, adapting to the curved profile of the chancel, an unusual solution in the district. but having twisted columns with baroque decoration and more elaborate fins. The main altarpiece, in transitional Baroque, with a national scheme, but with a Joanine decorative profusion, is quite elementary, consisting only of the tribune and respective architectural elements. It is framed by two large painted panels, alluding to the patron saint, with Joanine carvings frames, adapting to the curved profile of the chancel, an unusual solution in the district. but having twisted columns with baroque decoration and more elaborate fins. The main altarpiece, in transitional Baroque, with a national scheme, but with a Joanine decorative profusion, is quite elementary, consisting only of the tribune and respective architectural elements. It is framed by two large painted panels, alluding to the patron saint, with Joanine carvings frames, adapting to the curved profile of the chancel, an unusual solution in the district."
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