The church of S. Vítor in Braga (Igreja Paroquial de São Vitor) is by many considered one of the first examples, if not the first, of temple designed as a complete work of art, where the traditional manners, architecture was thought as a way to receive the carvings and tiles that cover the interior of the church in its totality (SMITH, 1970). That is to say that, from the combination of the different techniques, results from a complex place, but where rules the coherence resulting from a specific ideological program.
The special organization, outlined by the french Miguel d'Escole and directed by the gemstone master Pascoal Parente, is simple, whereas all volumes – single aisle, presbytery with lateral sacristies, and square staircase tower -, develop according to the same longitudinal axis. In a context of military tradition, the plan of S. Vítor has nothing to add to the already known layouts (GONÇALVES, 1982 - 1983, p. 259), but takes advantage of the coatings in carving and tiles, that animate and revitalize the austere texture of the walls of the inside.
The façade in granite, still very far from the blaze André Soares will introduce (PEREIRA, 1986, p. 36-38), is a good example of Braga’s baroque, presenting side pillars, main gate sided by two niches that house sculptural representations of two archbishops, and triangular pediment, in which the tympanum holds the coat of arms of the Archbishop D. Luís de Sousa, responsible for the building of the church started in 1686, and who became the main symbol of his passage by the Archbishopric of Braga (GONÇALVES, 1982 - 1983, p. 259).
Finishes the gable one cardinal cross. The remaining elevations are animated by pillars of granite and illumination windows, that give it rhythm, highlighting the contrast between the stone and whitewash.
