Resumo (PT):
Abstract (EN):
Barral i Altet criticised the nineteenth and twentieth centuries restoration works for having
adulterated the image of Romanesque architecture, eventually considering them to be the actual
makers of the monuments we see today. These interventions in architecture ended up creating
an image of Romanesque and conditioned the result of its study and approach. This paper follows
this assumption, focusing on the restoration interventions that, from 1927 to 1946, were carried
out in Porto Cathedral under the now-extinct Directorate-General for National Buildings and
Monuments (DGEMN), which aimed at recovering what was understood to be its primitive
language, that is, that of the Romanesque period. The Cathedral and its surroundings were
then profoundly transformed, reconfiguring into a ‘sacred acropolis’ (one of the main objectives
pursued on the occasion of the oficial celebrations of the nation’s ‘double anniversary’, held in
1940) and highlighting its visibility from various points in the city. Aware that the restoration
work carried out in this period has definitively conditioned the legibility and apprehension of
what is originally Romanesque in Porto Cathedral and what results of the restoration, we seek to
demonstrate how this moment has to be a part of the cathedral’s history. Thus, we might ask: what
is truly Romanesque when we study a church, such as Porto Cathedral, whose historiographic
production tends to classify as Romanesque? Starting from this, we highlight the importance
of confronting several documental and visual sources produced at the time of the restoration
work, in order to understand the architectural structure we see today. We, therefore, intend
to underline the importance of studying this moment in the history of a cathedral, which is
fundamental for its safeguarding and heritage management.
Language:
English
Type (Professor's evaluation):
Scientific