Stone, Gold and the Age of Discoveries. Jerónimos Monastery in Lisbon

2026 By justmovingaround in PORTUGAL, Sacred Grounds Tags: Churches and Religious Heritage, Monasteries, Portugal

The Jerónimos Monastery in Lisbon is one of the most remarkable monuments of the Portuguese Age of Discoveries. From the monumental stone church visible from the Tagus to the richly gilded chapels inside, the complex reflects both the architectural ambition and the immense wealth of Portugal’s maritime empire.

Today I would like to return to a place I visited quite a long time ago – more than ten years ago – but which has stayed in my memory ever since. At the time, however, I made a rather unfortunate mistake. While travelling to Portugal, I somehow managed to leave my proper camera at home. Instead, I had to rely entirely on the camera in my mobile phone – and this was long before mobile photography reached the level we take for granted today. The device I had with me simply could not capture much detail, and the photographs it produced were limited in both resolution and quality. For years I assumed that these images would remain nothing more than vague digital memories buried somewhere in an old archive.

Recently, however, I decided to try a small experiment. With the help of artificial intelligence, I uploaded those old files and asked the system to enhance them – to recover as much detail as possible and improve their resolution. To my surprise, the results turned out far better than I had expected. I managed to retrieve a handful of usable photographs taken in this place. They are still only fragments of what I saw back then, but they provide just enough of a visual anchor to revisit this impressive structure.

Interior of the main church of the Jerónimos Monastery, front view.

The Jerónimos Monastery (Mosteiro dos Jerónimos) in Lisbon is one of the most important historical monuments in Portugal and one of the places most closely associated with the country’s past. The complex is located in the Belém district, on the banks of the Tagus River, in an area deeply connected with the Portuguese Age of Discoveries. Construction began at the turn of the 15th and 16th centuries on the initiative of King Manuel I, and today the monument is included on the UNESCO World Heritage List (since 1983).

The monastery stands very close to the Tagus River and forms part of the characteristic historical landscape of Belém. When standing by the riverbank near the Belém Tower and the Padrão dos Descobrimentos – the Monument to the Discoveries – and turning one’s back to the river, the long and massive silhouette of the monastery appears in front of you. The building stretches horizontally across the space of Belém and immediately dominates the view. When standing the other way around – with your back to the monastery and facing the river – you see the two other great symbols of Portugal’s maritime past: the Monument to the Discoveries and the Belém Tower. Together with the monastery they form a distinctive historical ensemble that defines this part of Lisbon.

Jerónimos Monastery | Mosteiro dos Jerónimos | Hieronymitenkloster | Monasterio de los Jerónimos | Monastère des Hiéronymites | 热罗尼莫斯修道院 | 제로니무스 수도원 | ジェロニモス修道院 | Klasztor Hieronimitów

Belém Tower, Lisbon | Torre de Belém, Lisboa | Belém-Turm, Lissabon | Torre de Belém, Lisboa | Tour de Belém, Lisbonne | 贝伦塔，里斯本 | 벨렝 탑, 리스본 | ベレンの塔、リスボン | Wieża Belém, Lizbona

Monument to the Discoveries, Lisbon | Padrão dos Descobrimentos, Lisboa | Denkmal der Entdeckungen, Lissabon | Monumento a los Descubrimientos, Lisboa | Monument des Découvertes, Lisbonne | 大发现纪念碑，里斯本 | 발견기념비, 리스본 | 発見のモニュメント、リスボン | Pomnik Odkrywców, Lizbona

Three monuments of Lisbon’s Belém district: the Jerónimos Monastery, Belém Tower and the Padrão dos Descobrimentos (Monument to the Discoveries).

What can be seen from the river, impressive as it already is, actually represents only a part of the entire monastery complex. The long monumental structure visible from the direction of the Tagus is primarily the Church of Santa Maria de Belém, the central church of the Jerónimos Monastery and the most architecturally striking element of the ensemble. Behind it, however, extends a much larger monastic complex that is not immediately visible from the waterfront. There are the vast cloisters, arranged around a large square courtyard and famous for their richly carved Manueline arcades, which once formed the heart of monastic life. Around them were located the functional spaces of the monastery, including the chapter house, where the monks held their meetings, and the refectory, the communal dining hall. After the dissolution of the religious orders in the nineteenth century, parts of these former monastic buildings were repurposed, and today they house institutions such as the Maritime Museum and the National Archaeological Museum. What appears from the river to be a single monumental church is therefore only the visible façade of a much larger historical complex extending further inland through Belém.

The foundation of the monastery was directly connected with Portugal’s maritime expansion. Previously a small church stood on this site, where, according to tradition, Vasco da Gama prayed before departing for his voyage to India in 1497. King Manuel I decided to erect a monumental monastery here that would reflect the power of Portugal and the significance of its oceanic discoveries. The construction was financed partly through a tax on the spice trade arriving in Portugal from Asia, which further underlined the close connection between the building and the country’s global maritime network.

The monastery was entrusted to the Order of Saint Jerome, whose monks played a particular symbolic role during the Age of Discoveries. Among their responsibilities was praying for the king and for Portuguese sailors embarking on long and dangerous ocean voyages. In this way the monastery became not only an important religious centre, but also a place that symbolically accompanied Portugal’s maritime expansion.

Architecturally, the Jerónimos Monastery represents one of the finest examples of the Manueline style, a uniquely Portuguese form of late Gothic architecture. The style is characterised by extraordinarily rich decorative carving that blends plant motifs with maritime imagery and symbols of royal power. Among the decorative details one can recognise carved ropes, shells, exotic vegetation and symbols connected with the Age of Discoveries. Slender, intricately sculpted columns as well as monumental portals and cloisters together create one of the most recognisable architectural ensembles in Portugal.

Interior and the ceilings.

Inside the monastery church – the central part of the complex – one can also find the tombs of important figures in Portuguese history. Among them is Vasco da Gama, one of the most famous explorers of the Age of Discovery. The church also contains the tombs of Portuguese monarchs associated with the Aviz dynasty, further emphasising the symbolic importance of the site as a monument to Portugal’s royal power and maritime achievements.

Although the church itself is a monumental structure of pale carved stone, some of the later chapels and altars create a striking contrast – richly decorated and literally dripping with gold, much like many other churches across Portugal where gilded baroque altarpieces became a defining element of the interior. This lavish decoration was largely the result of the immense wealth that flowed into Portugal during the centuries of maritime expansion and overseas conquest, when the country became one of the richest powers in Europe. One of the chapels I managed to photograph – although capturing all that shimmering gold without proper photographic equipment proved rather difficult – is a good example of such a space, overflowing with gilded ornamentation and centred around a sculpture of Christ lying in an open coffin.

A chapel in gold

This representation belongs to a long-standing Catholic devotional tradition known as the Dead Christ (often called Cristo Morto or Senhor Morto in Iberian countries). The sculpture depicts Christ after the Crucifixion and before the Resurrection, lying in a sarcophagus or open tomb and inviting contemplation of the Passion. In Portugal such figures are often placed in richly decorated side chapels and are sometimes associated with the rituals of Holy Week, when the moment between death and resurrection is symbolically commemorated.

The history of the monastery changed in the 19th century, when Portugal introduced the suppression of religious orders as part of liberal reforms aimed at reducing the political and economic influence of the Church. In 1834 many religious orders were dissolved and their monasteries and properties were confiscated by the state. As a result, the Jerónimos Monastery ceased to function as a monastic institution. The complex itself, however, did not lose its importance. Over time its spaces began to be used for museum and representative purposes, and today the monastery remains one of Lisbon’s most important historical landmarks.

Manueline-style entrance, Jerónimos Monastery | Entrada em estilo manuelino, Mosteiro dos Jerónimos | Eingang im manuelinischen Stil, Hieronymitenkloster | Entrada de estilo manuelino, Monasterio de los Jerónimos | Entrée de style manuélin, Monastère des Hiéronymites | 曼努埃尔风格入口，热罗尼莫斯修道院 | 마누엘 양식 입구, 제로니무스 수도원 | マヌエル様式の入口、ジェロニモス修道院 | Wejście w stylu manuelińskim, klasztor Hieronimitów

Side entrance to the church of the Jerónimos Monastery, decorated in the Manueline style, illuminated by full daylight.

As far as I remember, we actually had very little time to visit the site. In practice we managed to see only the church itself, and even that rather quickly. When planning our time in Lisbon, we essentially just passed through the church and skipped the rest of the monastery complex entirely. Shortly afterwards, however, we visited another convent – today the site of the Azulejos Museum – which surprised us just as much, with a chapel so richly gilded that the amount of gold decoration seemed almost unbelievable.

Even so, if I could go back in time – knowing what I know today and remembering the other monasteries we later visited in Portugal – I would certainly try to set aside at least an extra hour or two to explore the entire Jerónimos complex properly. The cloisters, the monastic spaces and the museums located there today would almost certainly have been well worth that additional time.

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Stone, Gold and the Age of Discoveries. Jerónimos Monastery in Lisbon

Bath Abbey

2023 By justmovingaround in Sacred Grounds Tags: Architecture, Churches and Religious Heritage, England, Gothic, Medieval, Monasteries

There are places where architecture becomes a kind of silent music – and Bath Abbey is one of them. The soaring Gothic rib vaults stretch like delicate branches across the ceiling, guiding the eye upward in perfect rhythm. Light filters through the stained glass, playing across the stone.

When almost a year after my departure, I finally managed to go through the photos from the Altes Museum in Berlin, connecting the pictures of the Roman Collection with the photos of ancient ruins in Rome, I realized that I’m missing photos of Roman-era ruins from England. Indeed, the Roman Empire reached there as well. Either the photos did not want to load from the server or they simply are not here. So I copied all the originals from England yet again to my computer and discovered that I had never processed some of them.

When we were in England, which was eight years ago, it was almost incessantly raining. Many photos can only remind me of the trip, but they show interesting places in torrents of rain, so they’re not particularly suitable for showing. However, I also found some that were taken indoors in beautiful locations. Below is one of such places – Bath Abbey in English Bath.

Bath is a historic city located in Somerset, England. It is known for its Roman-built baths and natural hot springs. Bath’s history dates back to the Roman period when it was known as Aquae Sulis. The Romans built elaborate baths and a temple complex around the natural hot springs, which were believed to have healing properties. These Roman Baths are one of the city’s most famous attractions and are still partially preserved.

Bath Abbey, formally known as the Abbey Church of Saint Peter and Saint Paul, is an impressive medieval cathedral located in the heart of the city. The history of Bath Abbey can be traced back to the 7th century when it was originally founded as a Benedictine monastery. Over the centuries, the Abbey went through several transformations and expansions, reflecting various architectural styles. The current structure of Bath Abbey predominantly showcases stunning Gothic architecture. The abbey features soaring pointed arches, intricate stone carvings, and large stained glass windows that allow beautiful light to filter into the interior.

The first thing that catches your attention when entering this cathedral is its magnificent ceilings. As far as I can remember, it was the first time I saw this architectural style. These are called rib vaults. Rib vaults consist of a series of ribbed arches that are arranged in regular patterns and intersect with each other. The ribs are made of stone or brick and form the fundamental structure of the vault. The ribs provide support and distribute the load, allowing for the construction of larger and more intricate spaces. Rib vaults occur in various patterns and styles, depending on the era and architectural style. In Bath Abbey, Gothic rib vaults dominate, characterized by intricate networks of ribs in different shapes, such as pointed, lierne, or tierceron ribs. These ribs form elaborate patterns resembling foliage, ivory, or floral motifs. The construction of rib vaults requires precision and stonemasonry skills. The ribs are formed using centering, and the stones or bricks are meticulously fitted together. Building rib vaults requires the involvement of skilled craftsmen and is an example of excellence in medieval architecture.

Another stunning eye-catcher in Bath Abbery are the stained-glass windows. The colorful stained glass panels depict biblical scenes, saints, and other religious motifs, filling the abbey with a kaleidoscope of light and color.

Below are a few more photos from this cathedral. When I took them, I only had a simple camera with a small zoom. I think that if I were to capture the interior today, after a few overall shots, I would focus more on taking close-ups of individual decorative elements of the cathedral.

What stayed with me was not just the beauty of the stained glass or the height of the nave, but the sense of order held quietly in the stone. The ribbed vaults, so precise and weightless, seem to organise not only the space above, but the thoughts within.

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Lavra. Monastery of the Annunciation in Supraśl. On the Must-see List When in Eastern Poland

2022 By justmovingaround in POLAND, Sacred Grounds Tags: Churches and Religious Heritage, Monasteries, Poland

Hidden behind a modest exterior, the Monastery of the Annunciation in Supraśl is one of the most remarkable Orthodox sites in Poland. Its spectacular frescoes, centuries-long history, restored interiors and connection to the cultural heritage of Podlasie make it one of the most fascinating places to visit in eastern Poland.

Monastery of the Annunciation of the Most Holy Mother of God in Supraśl | Kloster der Verkündigung der Allerheiligsten Gottesgebärerin in Supraśl | Monastère de l’Annonciation de la Très Sainte Mère de Dieu à Supraśl | Monastyr Zwiastowania Przenajświętszej Bogurodzicy w Supraślu | Monasterio de la Anunciación de la Santísima Madre de Dios en Supraśl | 苏普拉希尔至圣圣母领报修道院 | スプラシルの生神女福音修道院 | 수프라실 성모 희보 수도원

Within the Orthodox and other Eastern Christian traditions, lavra is a type of monastery consisting of a cluster of cells or caves for hermits, with a church and sometimes a refectory at its centre. The Monastery of the Annunciation in Supraśl is a large complex of buildings, the centre of which is, at first glance, an inconspicuous church building (on the photos left/above).

Although the Monastery is currently a functioning religious centre, it seems that its whole back part around the main church is used for cultural and educational purposes by the local authorities. There is also a small hotel on the premises, an icon museum and a museum of paper and printing. The latter is a small museum equipped with a complete set of old paper production and printing machines. It is located in two halls of the monastery at its back. The old machines are still working. You can see the entire industrial process, from making pulp paper to printing and stapling a book performed and explained by a guide (a post still to come). Some time ago, Supraśl was an industrial area with, among others, its own paper mills and printing activity, developed by the Monastery. Its printing house was established at the end of the 17th century. The Monastery published 350 titles in many languages, including Ruthenian, Polish, and Latin, for over one hundred years of its printing activity.

We drove to the Monastery of the Annunciation in Supraśl for the first time on Saturday evening. A mass was taking place. There was no possibility of sightseeing its main church. It was to be open for sightseeing from noon on Sunday. When we arrived on Sunday a couple of minutes before noon, I had trouble finding a parking lot. Besides, there were several coaches near the Monastery. At first, I thought we wouldn’t get into the first group of visitors. However, when we approached the Monastery’s gates, it turned out that the group willing to visit it was small. Only after a few hours, when we went to visit the museum of paper making and printing, I realised that these crowds of people were parents with children who took part in a chess tournament at the cultural centre located at the back of the Monastery. I only realised why the group willing to visit the church was that small when reading the history of this Monastery. Its full renovation took place two years ago, and many people simply don’t know how beautiful its interior is.

The interior of the Monastery of the Annunciation in Supraśl is not the oryginal one because it had to be rebuilt from scratch after the destruction of World War II and some other trouble. The full reconstruction of the church and its historical frescoes took place only from the 80s of the twentieth century. They sped up since 1996 when property rights to the Monastery and its churches were returned to the Orthodox Church. The restored church was consecrated only in 2021. The frescoes were restored with great care, making the interior a real work of art.

The first wooden Church of St. John the Evangelist (today called the winter church) and the second larger Church of the Annunciation were built at the beginning of the 16th century.

The Monastery was rich thanks to donated forests, fields, pastures, and entire villages where flour, beer and other goods were produced. In addition, agriculture, fishing (own fish ponds), and industry developed around the monastery. Over the years, a mill, a brewery, a bakery, a brickyard, a sawmill, a pottery shop, a paper factory, a tile factory, and sheets and cloth workshops were established around the Monastery. The funds at its disposal enabled the Monastery to decorate its churches with rich frescoes. A replica of those we may admire today.

The Monastery also had an impressive library with manuscripts and books donated by the nobles and written or rewritten books in its scriptorium.

However, at the turn of the 16th and 17th centuries, an attempt was made to subordinate part of the Orthodox Church to the Catholic Church. The rich Monastery was an obvious target. Consequently, in the 17th century, the Monastery of the Annunciation in Supraśl and its churches were managed by the Catholic Basilians Order of the Greek Rite. The beautiful frescoes that covered the church’s interior in the 16th century were repainted. At that time, the Monastery lost its religious significance but continued its extensive economic activity and grew rich. It was at that time that the monastic printing house developed for good.

After Supraśl found itself under Russian rule in the 19th century, the Monastery was taken over by the Russian Orthodox Church. In mid 19th century, a large part of the Monastery’s buildings and industrial activities fell into the hands of a wealthy factory owner from Łódź, Frederick Wilhelm Zachert. He moved his textile factories from Łódź to Supraśl to avoid Russian customs duties. He bought or leased from the state over 200 buildings belonging to the Monastery. He contributed significantly to the economic development of Supraśl, but he lived in disagreement with the monks. Along with the development of the textile industry, several thousand Catholics and Protestants came to Supraśl, which meant that the Orthodox community lost its importance.

After many years of decline, however, some people fought to restore the Monastery and the religious and social activities carried out in it. The Orthodox monks attempted to restore the old frescoes, but they did not manage it as the war came. During the I World War, they had to flee to Russia. Unfortunately, they took the Holy Icon of Our Lady of Supraśl with them. The icon was finally lost in Russia. The image that can be seen in one of the photos below is hence a copy of it. They also took all the books and other valuables kept in the Monastery. Then followed the times of Polish nationalism full of hatred to all that was Russian including its religion, the outbreak of the Second World War when at its end the Monastery church was razed to the ground and the times of communism until the end of the 1980s.

The tour around the church can only take place with a guide who is one of the local monks. Photography is officially not allowed inside the Church. However, if you make your photos discreetly without disturbing others and the inside quiet, then you can. Anyway, at the very end, when most of the people left, the monk giving us the tour allowed us to take pictures of the empty interior. Later, when we asked him to show us the interior of the winter church, he let us in and allowed us a quick photo session. The winter church (the older but also restored Church of St. John the Evangelist) is located in the left wing of the Monastery building. Masses were held there in winter, as the large church was difficult to warm in frost. Below you can see photos I made during the one hour tour.

Ławra Supraska * Monaster w Supraślu | Supraśl Lavra * Monastery in Supraśl | 苏普拉希尔大修道院 * 苏普拉希尔修道院

Monastery of the Annunciation in Supraśl

The interior look at the entrance and straightforward on the church inside. Still without looking up and around. It is the first impression as you enter the Monastery of the Annunciation in Supraśl.

Orthodox churches are completely differently equipped than Catholic or Evangelical churches, which we are used to in most Western and Central Europe. Because it was my first visit to an Orthodox church live on the spot, I cannot judge how much its decor goes beyond the standard. Judging by the descriptions on the Internet, however, it seems to be one of the most beautiful objects of this type in Poland. When you enter, you rub your eyes in amazement. All ceilings and walls are painted in all possible colours. There is a lot of gilding, but it does not dominate the colour palette. You don’t know where to start, what to look at, how to take pictures, and which details. To admire and take pictures of all the paintings and details, you must spend a good few hours in this church. However, the visit only lasts an hour.