[PT]Em 1596 foi fundado o Convento na cidade do Porto de que a Igreja de São Bento da Vitória fazia parte, tendo esta sido reconstruída nos finais do séc. XVII e solenemente inaugurada em 1707.
É um edifício imponente e amplo, de nave única e planta cruciforme com um programa decorativo harmonioso.
No interior, destaca-se o conjunto de órgãos, um deles mudo, construído apenas para manter o equilíbrio, e outro considerado emblemático da organaria em Portugal. Foi concebido pelo irmão beneditino Frei Manuel de São Bento entre 1719 e 1722.
De notar o trabalho de talha dourada, nomeadamente o retábulo-mor em estilo barroco nacional, atribuído ao mestre entalhador Gabriel Rodrigues que o executou em 1716-19, e os retábulos dos topos do transepto de expressão rococó da escola portuense, dedicados ao Santíssimo Sacramento e a Nossa Senhora do Desterro. Foram realizados em 1755 pelos entalhadores José da Fonseca Lima e José Martins Tinoco.
De referir ainda os púlpitos com grades de pau preto do séc. XVII e o cadeiral do coro-alto do séc. XVIII, da autoria do artista bracarense Marceliano de Araújo, um dos mais representativos do país, com painéis narrativos nos espaldares alusivos à vida de São Bento.
[ENG]In 1596, a convent was founded in Porto, of which the Igreja de São Bento da Vitória formed part, although the church was rebuilt at the end of the 17th century and only solemnly inaugurated in 1707.
It is a large and imposing building with a single nave and a cross-shaped floor plan, displaying a harmonious decoration.
Inside the church, attention is drawn to the group of organs, one of which is silent and was only built in order to maintain the sense of balance, while another is considered to be one of the finest examples of organ making in Portugal. It was designed by the Benedictine monk Frei Manuel de São Bento between 1719 and 1722.
Equally impressive is the carved and gilded woodwork, particularly that of the high altarpiece carved in the Portuguese baroque style, which has been attributed to the master woodcarver Gabriel Rodrigues and was made between 1716 and 1719, while the altarpieces at the top ends of the transept are rococo in design, being from the Oporto school and dedicated to the Holy Sacrament and Our Lady of Exile. They were made in 1755 by the woodcarvers José da Fonseca Lima and José Martins Tinoco.
Mention should also be made of the pulpits with 17th-century rosewood railings and the 18th-century stalls of the upper choir, designed by Marceliano de Araújo from Braga, one of the most representative artists in the country. The backs of the stalls are decorated with narrative panels relating the life of St. Benedict.
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