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This essay focuses on the figure of D. Teotonio de Braganca, the Archbishop of Evora between 1578 and 1602, showing the importance of his building projects and artistic decorations, under the sign of Tridentine values. He adapted the principles of ‘restauro storico’ and the revitalization of ‘imagine sacrae’ in the Early Christian sanctuaries of his archdiocese. He promoted a new type of sacred architecture using artists formed in Rome, such as the architect and sculptor Pero Vaz Pereira. The art born in Evora in the late-16th century, under the sign of the Contra-Maniera, achieves a quality that rivals with that of the reign of King John III and the humanist Andre de Resende. Old cults and new iconographic themes emerge with D. Teotonio, such as SS. Mancos, Jordao, Comba and other martyrs considered Evora-born. He ordered several works for Madrid, Rome and Florence to enrich the Cathedral and the Carthusian Monastery founded by him. Thus this period forms one of the most remarkable chapters in Portuguese Tridentine art and deserves to be properly analyzed.

archivo español de arte/archivo español de arte

&lt;em&gt;Restauro storico&lt;/em&gt; y &lt;em&gt;sacrae imagines&lt;/em&gt; en Évora bajo el gobierno del arzobispo don Teotonio de Braganza (1578-1602)