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Located in the historic area of Santa Clara, it occupies the building originally intended for the church of Santa Engrácia.

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From the primitive parish to the bold unfinished baroque church

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From the primitive parish to the bold unfinished baroque church

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This church was built according to the design of the architect Nicolau de Frias. A few years later, in 1630, the temple was desecrated by the theft of the consecrated hosts kept in the sacrarium of the chancel. Simon Solis, a new Christian who had been seen hanging around the temple, was accused of the crime. Condemned to death at the stake, he always swore his innocence, as sure as the work on the church of Santa Engrácia would never come to an end. The Brotherhood of the Slaves of the Blessed Sacrament was immediately created, committed to making reparation for the offence committed. The powerful brotherhood ordered the construction of a new chancel by the architect Mateus do Couto. Started in 1632, it suddenly collapsed around fifty years later. The disaster led the influential brotherhood to decide to build a new church and, in 1681, the project by the master João Antunes was chosen. At the time of the architect's death in 1712, the church was still unfinished, lacking its roof, interior finishes and other minor elements.

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National Pantheon on the day of its inauguration (07-12-1966)

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The end of the myth and the adaptation to the National Pantheon

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The end of the myth and the adaptation to the National Pantheon

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In 1964, António de Oliveira Salazar visited the monument and decided to capitalise on the popular superstition that the work was never-ending, ordering its completion in two years. The inauguration was to coincide with the regime's fortieth anniversary celebrations in 1966. At a particularly difficult time, it was important to show the Portuguese and the world how the Estado Novo had the strength to destroy myths of incapacity.

Between 1964 and 1966, a double concrete dome covered in lioz stone was designed, the interior, rich in different types of stone, was restored and the remains of the personalities to be honoured were moved.

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The church's main façade exemplarily combines the novelty of the Italian Baroque with Portugal's most notable architectural practice. In the galilee, we come across the three portals, animated by a decorative work of great importance, attributed to the French sculptor Claude Laprade. The national coat of arms above the rich central portal makes the church's national character explicit. Although it was never opened for worship, under the modern dome it retains the majestic space of the nave, enlivened by the colourful marble decoration characteristic of Portuguese Baroque architecture.

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Some of the personalities who rest in the National Pantheon

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Some of the personalities who rest in the National Pantheon

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Personalities honoured

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It's just a cenotaph, in other words, a tomb in honour of this famous Portuguese man, but without a body.

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Some of the personalities who rest in the National Pantheon

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Some of the personalities who rest in the National Pantheon

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Buried personalities

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A landmark in the city's profile and offering a privileged view over Lisbon's historic centre and the Tejo River, it has been classified as a National Monument since 1910.