Great Hall

Temporarily closed

In the 15th century – when the Palace was first inhabited by Afonso, 1st Duke of Bragança, and by his wife, Constança of Noronha – this was the most important chamber in the building. It also allowed access to the private quarters reserved only for the Duke and his immediate entourage.

In these buildings, contrary to what is now common, there were no corridors. The chambers – as they were then called – were arranged one after the other; thus, they would walk from public chambers to the more private ones.

In the Great Hall, one’s attention is drawn to the inverted boat-shaped ceiling, which, although constructed of chestnut wood in the second quarter of the 20th century, is believed to correspond to the original model.

In one of the walls, high up, it is possible to notice three small openings, fitted with closed wooden shutters. They would function as watches to cover what happened in the Great Hall.

The decoration of the Hall is dominated by the last of the “Pastrana Tapestries” – one of a series of four – which depicts “The Taking of Tangier”. The designation “Pastrana Tapestries” comes from the fact that they are unique copies of the late 15th-century tapestries housed in the Parish Tapestry Museum of Pastrana (Spain). This series narrates the conquest of the North African city of Asilah in 1471 (depicted in three tapestries) and the capture of Tangier (one tapestry), which took place during the reign of King Afonso V of Portugal.

A diverse collection of furniture, paintings and porcelain provides visitors with a glimpse into the interior design preferences of the Portuguese upper class during the 17th and 18th centuries.