PT: "Igreja de reconstrução neoclássica, de fundação medieval, com planta retangular composta de três naves, cada uma de três tramos, separados por possantes pilares quadrangulares, e cabeceira tripla, interiormente de espaço individualizado, devido ao corte visual provocado pelos pilares que separam as naves. Apresenta fachada principal de nítida verticalidade, com as naves de grande altura, tendo a central remate em frontão triangular e as laterais em cornija reta, com o portal enquadrado por pilastras e coroado por frontão entrecortado. No exterior possui inscrições com datas alusivas a diferentes momentos de construção, nomeadamente uma dos séc. 13; No interior destacam-se retábulos em talha policroma neoclássicos e, na capela-mor, cadeirais confrontantes encimados por painéis maneiristas, representando cenas da vida de Santo Estêvão, possivelmente pertencentes a um antigo retábulo; um painel do séc. 16, representando Nossa Senhora do Leite, e um outro, do séc. 18, representando Santo Estêvão em oração, entre outros. Segundo Vítor Serrão (1998, p. 234), o painel Coroação da Virgem (1571 - 1572) deve ser atribuída ao pintor Manuel Arnao e teria sido o primeiro painel pintado para o retábulo-mor, que não agradaria à Colegiada, levando-a a desistir da encomenda do retábulo. Dadas as dimensões idênticas às tábuas de Francisco Correia, o autor sugere que poderão ter feito conjunto no retábulo-mor. Possui ainda uma cadeira episcopal gótico-mudéjar, do séc. 15."
EN: "Church of neoclassical reconstruction, with a medieval foundation, with a rectangular plan composed of three naves, each with three sections, separated by powerful quadrangular pillars, and a triple headboard, with an individual space inside, due to the visual section caused by the pillars that separate the naves. It presents a main façade of clear verticality, with naves of great height, with the central finish in a triangular pediment and the sides in a straight cornice, with the portal framed by pilasters and crowned by an intersected pediment. On the outside there are inscriptions with dates alluding to different periods of construction, namely one from the 17th century. 13; Inside, neoclassical polychrome carved altarpieces stand out and, in the main chapel, confronting chairs topped by mannerist panels, representing scenes from the life of Saint Stephen, possibly belonging to an ancient altarpiece; a panel from the 19th century. 16, representing Our Lady of the Milk, and another, from the 17th century. 18, representing Saint Stephen in prayer, among others. According to Vítor Serrão (1998, p. 234), the Coronation of the Virgin panel (1571 - 1572) must be attributed to the painter Manuel Arnao and would have been the first panel painted for the main altarpiece, which would not please the Collegiate, leading it to to give up the order for the altarpiece. Given the identical dimensions to Francisco Correia's tablets, the author suggests that they may have been part of the main altarpiece. It also has a Gothic-Mudejar episcopal chair, from the 17th century. 15. The Coronation of the Virgin panel (1571 - 1572) must be attributed to the painter Manuel Arnao and would have been the first panel painted for the main altarpiece, which would not please the Collegiate, leading it to give up the commission for the altarpiece. Given the identical dimensions to Francisco Correia's tablets, the author suggests that they may have been part of the main altarpiece. It also has a Gothic-Mudejar episcopal chair, from the 17th century. 15. The Coronation of the Virgin panel (1571 - 1572) must be attributed to the painter Manuel Arnao and would have been the first panel painted for the main altarpiece, which would not please the Collegiate, leading it to give up the commission for the altarpiece. Given the identical dimensions to Francisco Correia's tablets, the author suggests that they may have been part of the main altarpiece. It also has a Gothic-Mudejar episcopal chair, from the 17th century. 15."
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