CASTELO BRANCO, HALF A CASTLE AND LOTS OF EMBROIDERY

From the perspective of someone like me who grew up in a metropolis, Castelo Branco is a very small city, with about 34,500 inhabitants within its urban perimeter, out of a total of about 56,000. Located east of central Portugal by train, Castelo Branco is about two and a half hours northeast of Lisbon and about the same time southeast of Coimbra. Nowadays, it doesn't take more than a day to visit the city—although I stayed there for two days, as I chosed to visit it on a Saturday and a Sunday in the first week of the year, when the cold and New Year's Eve hangover made Castelo Branco seem even sleepier and more lazy. However, this small, tranquil city has several attractions worth visiting. And always at very reasonable prices.

DOES CASTELO HAVE A WHITE CASTLE?

I'll begin this post by giving you a spoiler. Although the meaning of Castelo Branco is White Castle, No, there's no white castle in Castelo Branco. Furthermore, the city's name itself may not have anything to do with a castle. In fact, the origin of the name is quite confusing and controversial. According to some researchers, it originates from an ancient village called Moncarche, situated atop a hill known as Cabeço da Cardosa. This settlement was donated to the Knights Templar in 1214, who changed its name to Castelo Branco de Moncarchinol and then to Castelo Branco, no one knows why. The most widely accepted hypothesis has to do with the conviction, at the time, that Moncarche was built on the site of the ancient settlement called Catraleucos, mentioned by the Greek scientist Ptolemy as one of the two Celtic cities of Lusitania. It was believed that Catraleucos meant White Castle and that this settlement was built in honor of the Greek goddess Leukothea – literally, "white goddess" – the protector of sailors.

Whatever the true meaning of the city's name, the fact is that the only castle built in the city, of which little more than ruins remain, there is no evidence that it was ever white during its grand past, and that construction most likely began when Castelo Branco already had that name. Obviously, from both a historical and purely tourist perspective, if you go to Castelo Branco, a visit to what remains of the castle, now better known as the Templar Castle, is essential, and it is with this that I begin this tour.

TEMPLAR CASTLE

The Templar Castle was what historians often call a strategic Iberian castle: a military castle with strategic functions, quite different from the typical medieval European castle, of a stately nature. It was part of the so-called Linha da Raia (Border Line) or Linha do Tejo (Tejo Line), which also included the castles of Almourol, Monsanto, Pombal, Tomar (which I've already mentioned here), and Zêzere. As soon as the Templars took possession of Moncarche in 1209, they began making plans for its construction, with the earliest mention of its existence dating back to 1230.

It was shaped like a relatively regular quadrilateral and was defended by seven towers, commanding total control of the horizon. All the towers seemed to follow a certain symmetry, except for the main keep. It had three distinct access courtyards: a first one with free access, the palace courtyard, and the keep courtyard.

CHURCH OF SANTA MARIA DO CASTELO

The tourist complex housing the ruins of the Templar Castle also houses the Church of Santa Maria. The original church was built in the 13th century, within the perimeter of the defensive wall, to be the first parish church of Castelo Branco. Until the 14th century, its churchyard was the meeting place for the so-called "homens-bons" (good men) and monastic-military authorities.

Destroyed in 1640 during Portugal's war against the Kingdom of Castile for the restoration of Portuguese independence, burned down in 1704, and a victim of French attacks led by General Junot during the Napoleonic invasion, it eventually fell into ruins.

It was fully restored in the 19th century, but the unplastered wall of the north side façade still offers a small window to the original Romanesque church. Also within its single-nave interior, some ancient tombstones can still be found, including the tomb of João Rois, a 16th-century poet from Castelo Branco.

SÃO GENS VIEWPOINT

Very close to the Templar Castle is another unmissable attraction: the Miradouro de São Gens (Saint Gens Viewpoint). Opened in 1941, it was originally built to camouflage the city's water supply tanks. Abandoned for many years, this space was fully restored thanks to a project of the Urban Requalification and Environmental Enhancement of Cities Program (Polis Program). It is now available to residents and tourists as a pleasant space, offering panoramic views of Castelo Branco's historic center and leisure areas, in addition to serving as a support for the castle's slope. From the viewpoint, one can enjoy a wide-ranging view of the horizon, stretching from the Santa Águeda or Marateca Dam to the Spanish border, including the southern slopes of the Serra da Gardunha and, further afield, the Serra da Estrela.

Despite being very close to the Templar Castle, the climb to the viewpoint is long and can be tiring. But the effort will certainly be rewarded by the beautiful scenery. Plus, once you get there, you'll find garden benches and several shaded spots for a well-deserved rest.

EPISCOPAL PALACE GARDEN

I arrived in this city without many expectations, drawn primarily by the famous garden of the former Episcopal Palace, which now houses the Francisco Tavares Proença Júnior Museum. Created in the 18th century by Bishop João de Mendonça, the Episcopal Palace Garden (or Garden of Saint John the Baptist) is known both within and outside Portugal for its profusion of stone statues, which, in my opinion, would be worth the trip to Castelo Branco alone – a trip I never regretted.

Built in the Baroque style, it was originally part of a vast and complex agrarian, landscape, and aesthetic complex known as the "public areas of the Episcopal Palace of Castelo Branco." It was built by order of the bishop of the Diocese of Guarda, Dom João de Mendonça, around 1720, upon his return to Portugal after living for three years in Rome. The site contained two olive groves, a vineyard, a rabbit hutch, a woodland, landscaped vegetable gardens, and the garden itself, the entire complex surrounding – and protecting – the bishop's residence. The Palace served as the permanent residence of several other bishops of the Diocese of Guarda and, from 1771 to 1831, of the newly created Diocese of Castelo Branco.

From 1834 onwards, several public services were installed in the Palace, after which the public spaces began to suffer unprecedented neglect. In 1911, as a result of the Law Separating Church and State, the Palace Garden came under the supervision of the City Council, under lease. The following year, to commemorate the second anniversary of the establishment of the Republic in Portugal, it opened its doors to the public. Finally, in 1919, it was purchased and became a municipal garden.

No one knows the whereabouts of the original design (probably lost due to the 1755 earthquake – which I've discussed here and here), nor its author. But there are suspicions that it may have been an Italian architect: either because of the number of floral elements that betray a clear influence of the Italian gardening style, or because of similar commissions from Portuguese ecclesiastical figures made around the same time. Several statues record the dates they were completed, such as that of Saint John the Baptist (below – to whom the garden is dedicated) and Mary Magdalene, both dated 1725, and that of Moses holding the Tablets of the Law, from 1726.

It would be tedious and tiresome to name or describe the charming peculiarities of each of the dozens of statues that populate the Palace Garden, or the details of their composition. I'll tell you, just to pique your curiosity, that the garden is divided into four distinct spaces, but connected by various points of articulation: the Entrance, the Boxwood Landing, the Flooded Garden, and the Upper Level.

The current Entrance has been on Bartolomeu da Costa St. since 1936, the year it was designed by engineer Manuel Tavares dos Santos. Here, you'll find tile panels depicting ancient views of the city and portraits of the two bishops responsible for the garden's construction. The portal dates back to the 18th century and originated from the landscaped vegetable gardens.

At the Boxwood Landing, my highlight is the large number of statues, organized into iconographic paths, as if the visitor were viewing a veritable material and spiritual compendium of the world. One can observe, for example, the complete cycle of the zodiac, the four parts of the Earth (with the captions changed, except for Europe), and the four seasons; around the central lake, the Three Theological Virtues – Faith, Hope, and Charity – the Four Cardinal Virtues – Justice, Prudence, Fortitude, and Temperance – and a Moral Virtue – Cleanliness. At the four vertices of this symbolically charged space lie the Last Things of Man: Death, the Last Judgment, Hell, and Paradise.

Next, the Flooded Garden, on the south side of the garden, houses a set of trapezoidal flowerbeds that, deceptively, appear to emerge from the middle of the lake, creating a striking visual effect. Between these two landscaped spaces is the Lake of Crowns, over a balcony, on a level above the garden, where the fourth dynasty of Portuguese monarchs parades, up to King Joseph I. Bordering the lake, to the east, is a monumental staircase on which the monarchs of the 1st and 2nd dynasties are lined. On the opposite side, another monumental staircase opened the apostles – identifiable by the symbol of their martyrdom. In the background, on the level, are the four evangelists and the animals that identify them, according to the Apocalypse.

This staircase leads us to the garden's Upper Level. This plane is a constant allusion to water and its purifying power. Here, Moses stands atop a waterfall that flows into a large pool. The pool stored water for watering the garden and also served as a playground for the bishops, who had a canoe and a boat at their disposal.

The Episcopal Palace Garden (Jardim do Paço in Portuguese) is open year-round and opens at 9 a.m. From April to September, it closes at 7 p.m., and from October to March, at 5 p.m. Admission costs €3.00 for people up to 64 and €1.50 for those over 65. Groups of more than 12 people are €1.50, and children under 10, researchers, journalists, and tourism professionals are admitted free.

Access is via the Jardim do Paço Interpretation Center, located next to the garden at Bartolomeu da Costa St., 5. Opened in 2013, the Center not only provides access to the garden but also offers access to some of the history of this space, as well as seeing pieces that were once part of the garden and others discovered during the various research and restoration projects carried out at the site. The Center also houses a shop selling souvenirs and handicrafts representative of the municipality.

FRANCISCO TAVARES PROENÇA JUNIOR MUSEUM

Adjacent to the Episcopal Palace Garden is the Francisco Tavares Proença Júnior Museum, which displays important art collections, as well as Castelo Branco's famous embroidered quilts and a representative sample of the city's Roman-era archaeological remains. Established in 1910, the museum's original core is based on the archaeological collection of Francisco Tavares Proença Júnior, a figure with diverse interests in science and the arts who became particularly notable as an archaeologist. Initially housed in the Capuchin Convent of Castelo Branco, the museum was moved to the former Episcopal Palace in 1971. In the 1990s, it underwent restoration and museographic adaptation.

Of note among the original collections assembled by the founder are important pieces of Roman epigraphy, Bronze Age megaliths (known as the Menhirs of Saint Martin), Iron Age goldsmithing, and Paleolithic and Neolithic materials. It was later enriched with pieces of ancient art from the interior of the Bishop's Palace and with successive additions of archaeological remains, vestments, and embroidered quilts, along with objects from other acquisitions and donations.

As for the visual arts collection, the museum houses pieces inherited from the former Bishop's Palace of Castelo Branco, including paintings, tapestries, and sculptures from the 16th to 19th centuries. During the 1980s, the museum also incorporated works of contemporary art.

Bull. Serra de Oleiros, 2nd century

Holy Face (Imago Christi), unknown artist, oil on wood, 16th century

Portrait of King José I, oil on canvas. Unknown artist, 18th century

Three Women, watercolor by Júlio Resende, 1979

As for the decorative arts, embroidered fabrics are worth highlighting, with special attention to the Castelo Branco quilts, considered the city's calling card. As I mentioned in the title of this post, Textile Art is one of the museum's main areas, dominated by the famous Castelo Branco quilts.

Integrated into the Network of Museums and Cultural Facilities of the Municipality of Castelo Branco since September 1, 2015, under the Government's Interadministrative Contract for the Delegation of Powers, the Francisco Tavares Proença Júnior Museum boasts an expanded temporary exhibition area, located in a prime location next to the Main Hall. At the same time, the museum has been investing heavily in expanding its archaeology and sacred art collections. On the ground floor, to facilitate access for both the general public and researchers and specialists – but especially for people with reduced mobility – is the D. Fernando de Almeida Library, created in 1985 from the donation of the museum's former director's bibliographic collection. Alongside the library, there is also the archaeological collection, which houses both temporary exhibitions and programs for the study, conservation, and dissemination of the collections held in the reserves.

Another important feature of the museum is that its Main Hall regularly hosts concerts, lectures, seminars, and other initiatives related to the museum's mission, accessed via the building's main staircase. I was fortunate enough to be in the city for the performance by the trio formed by Portuguese guitarist César Prata, singer Catarina Moura, and Galician multi-instrumentalist Ariel Ninas, performing traditional Christmas carols common in Portugal and Galicia. Below, the song "Eu Irei ao Presépio" (I Will Go to the Crib).

The Francisco Tavares Proença Júnior Museum is located in Largo Dr. José Lopes Dias and is open Tuesday through Sunday, from 10 am to 1 pm and from 2 pm to 6 pm. Admission is €3.00, but people over 65 and students pay €1.50. For groups of 12 or more, admission is €1.50 per person. Researchers are free. Admission is also free on Sundays and holidays.

CITY PARK

Across from the Palace Garden, on the other side of Bartolomeu da Costa Street, lies the City Park. Formerly the Palace Garden, home to the Episcopal Palace's vegetable garden, it was a lauded site in the 18th century for the beauty and organization of its landscaped flowerbeds.

Beginning in 1912, along with the adjacent Bosque do Paço – Mata dos Loureiros, the Palace Garden became open to the public. In 1934, after a profound transformation, the space became the City Park.

More recently, as part of the Polis Program (which I mentioned earlier), the Jardim do Paço was remodeled, aiming to reorganize the space according to the guidelines and expectations surrounding the new functions that green and leisure areas in Portugal should fulfill, guided by the transformations of urban life, but above all, by the requests of visitors. The project included the preservation of elements considered important to the residents of Castelo Branco, such as the Porta de Roa and the park's fence and entrance gate, combined with a substantial landscaping renovation, in which one of the essential elements was the presence of water, both real and apparent. I didn't visit the original park, but I really liked the renovated and refurbished one.

CONVENTO DA GRAÇA and MUSEUM OF SACRED ART OF MISERICÓRDIA

The Convent of Our Lady of Grace, also known to the locals simply as Convent of Graça, is a convent located near the northern exit of the city. Currently, it is the headquarters of the Santa Casa da Misericórdia of Castelo Branco.

Santa Casa da Misericórdia (The Holy House of Mercy) is a charitable institution whose mission is to treat and support the sick, the disabled, and orphans. Founded in Lisbon in 1498 by Queen Leonor of Portugal, the institution grew into a network of charitable organizations spanning across the Portuguese Empire and there are now Santas Casas da Misericórdia located across Portugal, Brazil, and the rest of the Portuguese-speaking world.

The current convent originated from the "conventinho", a small monastery built in 1519 by will of Rodrigo Rebelo, a soldier from Castelo Branco who became governor of Goa, India. The "conventinho" was initially occupied by Franciscan friars and, in 1526, after five years of abandonment, was handed over to the Augustinian friars, who dedicated it to Our Lady of Grace. When the current Convento da Graça building was built, the "conventinho" became the church of the new convent.

In 1834, after the extinction of religious orders in Portugal, Queen Maria II ceded the convent to the Santa Casa da Misericórdia of Castelo Branco, where this institution transferred the city's hospital and, currently, is the headquarters of the Institution.

The current building was constructed next to the "conventinho" and is an example of the so-called plain architecture, so characteristic of Portugal at the end of the 16th century, of which the clear and robust structure of the cloister is striking.

Part of the Convento da Graça comprises the Domingos Santos Pio Museum of Sacred Art, also known as the Misericórdia Museum of Sacred Art. Opened in 1984, this museum boasts a prime location, currently occupying three rooms of the convent, and has long been a reference point for visitors interested in religious art. Although not very large, it is an institution that impresses visitors with the beauty of its space and the uniqueness and grandeur of some of its pieces.

Admission to the museum is free and includes a visit to the Graça Church and the cloister. If you're traveling with a group, your visit must be scheduled in advance.

CROSS OF ST. JOHN

On the way between the complex comprising the Episcopal Palace Garden, the City Park, the Francisco Tavares Proença Júnior Museum, the Convento da Graça/Museum of Sacred Art, and the Cathedral (Church of St. Michael), you pass the Cross of St. John. Classified by the Portuguese government as a national monument, this monument, located in Largo de São João, is an example of Manueline religious architecture, rich in detail. Carved in granite, it is believed to have been built in the 16th century and was a cross along the way, that is, it marked the existence of a chapel dedicated to St. John in a nearby location.

The Cross has an octagonal base decorated with plant elements, a spiral column, on which stands a ring, decorated with a rope and stylized plants that serves as a base for a crucified Christ.

HOUSE OF MEMORY OF THE JEWISH PRESENCE

Between Largo de São João and the Church of São Miguel, turning left onto Rua das Olarias, on the right, stands the House of Memory of the Jewish Presence. It pays homage to the history of the Jewish people, to the ancient Jewish community that lived in Castelo Branco and contributed significantly to its commercial and economic development, and to the memory of all those persecuted or killed at the hands of the Inquisition.

The museum is divided into four distinct spaces:

Shop/Reception, on the ground floor, where you can find various publications, kosher products, and information about the city, its museums, and monuments. On this same floor is an exhibition dedicated to the founding of the Castelo Branco Jewish Quarter, including Jewish rituals and festivities, the Inquisition, and torture devices.

In the transition between the ground floor and the first floor is the Memorial of the Victims of Castelo Branco, bearing the names of 329 people who were persecuted or killed for reasons related to their religious beliefs. It is a space entirely dedicated to the prominent Jewish figures from Castelo Branco of their time, both in Portugal and abroad, in a space that presents a timeline of the Jewish presence in Portugal to the present day.

Finally, the 2nd floor has a study and research area where you can consult all types of material related to Jewish themes, either in person (Library and Documents) or through digital platforms.

The Jewish Presence Memorial House is located at Rua das Olarias, 43, [Street of Potteries] and is open Tuesday through Sunday, from 10 am to 1 pm and from 2 pm to 6 pm, except January 1st, the third Tuesday after Easter Sunday (a municipal holiday), April 25th, May 1st, Easter Sunday, and December 25th. Admission is €1.50. Those over 65 pay €0.75. This also applies to groups of 12 or more. Students are free. As with the Francisco Tavares Proença Júnior Museum, admission is free on Sundays and holidays. Organized groups from Private Social Solidarity Institutions and other nonprofit organizations receive a 50% discount. On the first Sunday of each month, admission is free from opening until 1 pm.

CHURCH OF ST. MICHAEL – CON-CATHEDRAL SEE

There is evidence that the Church of St. Michael is located on a site where, since 1213, there was a temple whose ownership is attributed to the Knights Templar. Due to a lack of resources for the construction of a monumental work, it was only rebuilt in the late 17th century, in the Renaissance style, under the command of the then bishop of the Guarda region, D. Martim Afonso de Melo, who bore the majority of the reconstruction costs. However, it was only elevated to the status of con-cathedral see in 1956. For this reason, several elements from these different construction phases are visible: a 16th-century chancel arch, 17th-century altarpieces and panels, and a chancel and sacristy from the 18th and 19th centuries.

The church's façade is almost unadorned. The temple has only one nave, separated from the chancel by a Renaissance arch, at the top of which is the coat of arms of Bishop Martim Afonso de Melo, as shown on the Cathedral's interior plaque on one of the side walls. The construction of the two Baroque side sections – the Great Sacristy and the Chapel of the Blessed Sacrament – was overseen by the second bishop of the diocese of Castelo Branco, Friar Vicente Ferrer da Rocha (1782–1814).

The Church of São Miguel is open from Monday to Friday, from 9 am to 12:30 pm and from 3 pm to 6:30 pm.

CAMÕES SQUARE

Another important complex is located in Camões Square (or Old Square), about a 4-minute walk from the Cathedral. It was the center of the old city, where the market was held and where some of the most important buildings in the historic area are located. It houses the Casa do Arco do Bispo [Bishop's Arch House] (13th century), the Castelo Branco Embroidery Interpretation Center (16th century – formerly the Domus Municipalis or Town Hall Palace), and the District Archives (17th century – formerly the Solar dos Cunha or Solar dos Mota). Following Rua de Santa Maria [St. Mary Street] and turning the first corner on the right, onto Rua dos Cavaleiros [The Knoghts' Street], is the Cargaleiro Museum, and about 45 meters east, at the end of Rua do Relógio [Clock Street], stands the Clock Tower. Let's take a quick look at them.

HOUSE OF THE BISHOP'S ARCH

The House of the Bishop's Arch, built in the 13th century, was the temporary residence of the bishops of Guarda in Castelo Branco. It is possible that this house, beneath which there is a tunnel, was originally the Pelame Gate, one of the city's defensive gates. The Monumental Gate, access to the Bishop's residence, remains visible on the rear façade.

CASTELO BRANCO EMBROIDERY INTERPRETATION CENTER

The Domus Municipalis, formerly the Town House, former Jail, and, more recently, the Municipal Library, was transformed six years ago into the Castelo Branco Embroidery Interpretation Center, following a restoration process of this iconic building. Its goal is to contribute to the revaluation, recovery, innovation, and relaunch of Castelo Branco embroidery, a symbol of the city and a characteristic artistic expression of the region. Recognized for its beauty and a national example of originality, Castelo Branco embroidery is a distinctive art form with a unique style, and is an essential industrial activity for the Castelo Branco District (a political-administrative division similar to the states in Brazil).

But why Castelo Branco? This region was traditionally cultivated for flax, and it was also home to mulberry trees, the main source of silkworm food, which enabled large-scale silk production.

The Interpretation Center, in addition to being a museum and shop, also houses the Castelo Branco Embroidery Workshop-School, which brings together some of its finest embroiderers. Furthermore, the Center offers a space that brings together, in a single timeline, everything from ancient artifacts to the most recent technological and digital media. The exhibition showcases the origins of embroidery in Castelo Branco, from flax sowing to weaving, including silkworm breeding and raw material extraction. It also showcases the evolution of embroidery itself, its technique (stitches), its historical evolution, and its symbolism.

Research shows that the 18th century was the most prolific period for the production of Castelo Branco embroidery. After a period of decline throughout the 19th century, a resurgence occurred in the region at the beginning of the 20th century, when Maria da Piedade Mendes (1888?–1984) discovered a set of linen quilts embroidered with silk, stored in chests inherited by her family. These embroideries would serve as models for the work she developed throughout her life, with remarkable perfection. In 1929, Maria Júlia Antunes, a teacher at the Liceu Infanta D. Maria in Coimbra, presented her thesis "Rendas e Bordados das Beiras" [Lace and Embroidery of the Beiras Region], in which she refers to "Castelo Brancoan embroidery, generically called frouxo," for the first time publicly presented under the name that associated it with Castelo Branco. From this work, the embroidery of Castelo Branco began to be identified as a school, recreating and reformulating motifs from remaining modalities, in defense and continuity of a singular artistic expression in the panorama of Portuguese textile production.

The Castelo Branco Embroidery Interpretation Center is open from Tuesday to Sunday, from 10 am to 1 pm and from 2 pm to 6 pm, and admission is free.

CASTELO BRANCO DISTRICT ARCHIVES

The current Castelo Branco District Archives building was originally built as a residential building in the 17th century, on the initiative of the Guilherme da Cunha family. After a long period as the Cunha family's estate – who underwent radical changes to the property and incorporated neighboring buildings – the Cunha Manor was purchased from António Russinho in 1988 by the Portuguese State, after having been part of the estate of another Castelo Branco family, the Motas. Between 1989 and 1993, the building was restored and expanded to become the District Archives – a process that took place on March 20, 1997.

The Castelo Branco District Archives is open Monday through Friday, from 9:00 a.m. to 12:30 p.m. and from 1:30 p.m. to 5:00 p.m., and admission is free.

CLOCK TOWER

To the left of the Castelo Branco Embroidery Interpretation Center is Clock Street. Continue along it for about a minute, and 60 meters further on, on the left, is the Clock Tower. This tower is linked to the city's expansion and the extension of its former wall. Its location coincides with an old tower in the outer wall, adapted for its current function during the 19th century. For Castelo Branco residents and many visitors, the Clock Tower has become the city's calling card, which is why the City Council invested in consolidation and conservation work.

The tower's omnipresence in the daily lives of Castelo Branco residents, both visually and through its characteristic chimes, is an indispensable companion not only for residents of Castelo Branco's historic center but also for other residents and visitors. It's easy to transport ourselves to times gone by, and surely, more nostalgic with each toll of its bells.

CARGALEIRO MUSEUM

Still with Camões Square as a reference point, a visit to the Cargaleiro Museum, located in an 18th-century building known as Solar dos Cavaleiros (18th century), on Rua dos Cavaleiros, is essential. The museum, about a two-minute walk from Camões Square, is dedicated to the work of the intrepid painter Manuel Cargaleiro. Consisting of two adjoining buildings – the historic building known as "Solar dos Cavaleiros," a small palace built in the 18th century, and a contemporary building from the 21st century – its collection houses temporary exhibitions, educational programs, and a library. Through this, the museum promotes contemporary art and culture, featuring works by today's most renowned artists. It also strengthens ties with the local community, activities inherent to the museum's mission.

Admission to the Cargaleiro Museum is not free, but prices are quite reasonable—like all other attractions in Castelo Branco. Adults pay €3.00, and people over 65 pay €1.50. For groups of 12 or more, admission is €2.00.

The museum is open Tuesday through Sunday, from 10 am to 1 pm and from 2 pm to 6 pm. Admission is free every first Sunday of the month, when the museum is open from 10 am to 1 pm. If you opt for a guided tour, admission increases by €1.00 and reservations are required. It's also important to note that the museum is closed on New Year's Day, Easter Sunday, the third Tuesday after Easter Sunday (as it is a municipal holiday), Freedom Day (April 25th), May Day, and Christmas Day.

If you're interested in visual arts and/or unfamiliar with Manuel Cargaleiro, even if visiting Castelo Branco isn't in your immediate plans, I suggest checking out the museum's website to learn more about this artist and, as the Portuguese say, experience a little of his work. The address is here.

Another interesting area for those visiting Castelo Branco is the city center, known as the Civic Center. This area includes the Municipal Square, the Solar dos Viscondes de Oleiros (City Hall) and the Palácio dos Viscondes de Portalegre (former Civil Government), the Castelo Branco Judicial Court building, the Devesa Garden, and the leisure and commercial area known as the Docas de Castelo Branco (or Campo de Mártires da Pátria).

MANOR OF THE VISCOUNTS OF OLEIROS

In the current Praça do Município stands an old manor house that belonged to the Fonseca Albuquerque de Mesquita e Castro family, which included the Viscounts of Oleiros, since the 17th century – which is why the building is still known today as the Manor House of the Viscounts of Oleiros. Purchased by the City Council in 1935, it was here that the first session of the Executive Branch was held, having previously been held in the Bishop's Palace.

MANOR OF THE VISCOUNTS OF PORTALEGRE

Also in Praça do Município, on a relatively elevated level above the City Hall building, has stood the Manor of the Viscounts of Portalegre since 1743. It was formerly owned by the Coutinho Refoios family, to which the Viscounts of Portalegre belonged, and remained so until 1988, when it became the property of the Civil Government, an institution of the central government of the Portuguese Republic that was dissolved in 2011. After that date, it housed several public agencies and currently serves as the Portuguese government's Secretariat of State for Nature Conservation, Forests, and Spatial Planning.

The building, which has distinctly Renaissance features, has a symmetrical façade, notable for its bay windows. At the rear, there is a garden with flowerbeds bordered by boxwood (the European variety, quite different from the American one) and large mulberry trees.

Right in front of the Solar dos Viscondes de Portalegre is the tiny Devesa Garden. Although the garden itself isn't a particularly impressive attraction, it's worth a quick stop to rest on one of its wooden benches and admire the statue of Dr. João Rodrigues (1511-1568), a physician also known as João Rodrigues de Castelo Branco or Amato Lusitano. João Rodrigues was considered one of the greatest physicians and scholars of human anatomy of his time, not only in Portugal but throughout Europe.

In the Civic Center, on Alameda da Liberdade, is also the Castelo Branco Judicial Court building, a construction from the second half of the 20th century that seeks to reflect the architectural standards of other buildings in the Civic Center, such as the Manor House of the Viscounts of Oleiros and the Manor House of the Viscounts of Portalegre. Although they serve political and administrative purposes, these three buildings deserve a closer look, as, in my opinion, they form a balanced and harmonious ensemble.

CONTEMPORARY CULTURE CENTER

I'll end my tour with the Castelo Branco Contemporary Culture Center (CCCCB or simply CCC). Maintained by the City Council, the CCC aims to promote and disseminate contemporary culture, stimulate artistic creation, and foster the development and development of new audiences.

The CCC is a bold architectural building, the result of a partnership between Catalan architect Josep Lluis Mateo and Portuguese architect Carlos Reis de Figueiredo. Located in Campo Mártires da Pátria, in the city center, it's a meeting and leisure venue near other cultural facilities, such as the Cine-Teatro Avenida and the Municipal Library. It's a four-story, open-air building, clad in metal and wood, featuring an ice skating rink, exhibition areas, an auditorium, and a cafeteria. The auditorium seats 275 and features a high-quality acoustic system, which eliminates the need for amplification, designed by Catalan specialist Higini Arau.

Admission to the CCC costs €3.00 for people up to 64 and €1.50 for those over 65. Groups of 12 or more also pay €1.50, and admission is free for students. Admission is also free on Sundays and holidays. The Center is closed on Mondays and the third Tuesday after Easter Sunday (a municipal holiday), and on January 1st, April 25th, May 1st, Easter Sunday, and December 25th.

Guided tours are available on Wednesdays at 11:00 am; Saturdays at 11:00 am and 3:00 pm; and Sundays at 11:00 am and 3:00 pm. Visits can be scheduled in advance for other days at no additional cost.

GOOD THINGS COME IN SMALL PACKAGES

The itinerary I just outlined reflects personal experience – which, as I mentioned at the beginning of this post, was covered in two days. Castelo Branco's small size and population, compared to the city of Angra dos Reis, where I live (a medium-sized city by Brazilian standards), don't reflect the variety of leisure and cultural options available to visitors. This doesn't even include the attractions in the surrounding area and in neighboring towns and cities, which can be reached in less than two hours by car, bus, or train. Locate Castelo Branco on the regional map and on the map of Portugal. Whether you're interested in leisure tourism, ecological tourism, cultural tourism, religious tourism, historical tourism, etc., Castelo Branco is a great option to consider.

As I said before, I went to Castelo Branco without many expectations, drawn almost exclusively by the beautiful Episcopal Palace Garden. But I found so much more. And I still owed myself a lot. I would definitely return (will I?). And you, who patiently read this story of mine?