The Monastery’s noble entrance, where the most distinguished guests were welcomed. The access was made directly through the main façade of the building (exterior portal, closed with an iron gate, at the top of the staircase).

During the reign of King D. João V (first half of the 18th century) the room was richly adorned with glazed tiles, paintings and inlaid stones on the pavement, giving it a luxurious character and great splendour. 

In the early 20th century, this space was converted into a chapel.

Painted Ceiling
Vicenzo Baccarelli
Triumph of Saint Augustine over the Heresy
Plastered brick vault. Tempera painting – 1710

The vaulted ceiling was painted by the Florentine artist, Vicenzo Baccarelli, the introducer of the trompe-l’oeil technique (“deceive the eye”) in Portugal. It is an illusory way to enlarge spaces, through the painting of perspective architectures, very useful in rooms with lower ceilings. This ceiling is one of the few executed by Baccarelli that survived until our days. The floral decorations were carried out in collaboration with the Portuguese painter Vitorino Manuel da Serra.

The ceiling was affected by the earthquake of 1755, particularly the central scene, which was later completely covered with plaster. It was restored by Manuel da Costa in 1796.

The central composition depicts the Glory of Saint Augustine. It is possible to observe the Saint being elevated to heaven by a group of angels. Simultaneously these angels pierce the figure of Heresy with Saint Augustine’s staff, which is used as a spear, and burn the heretical books, alluding to the Arians and Manicheans. It symbolizes the excellent doctrine of this Saint and Doctor of the Church, as well as his conversion from Manichaeism to Christianity.