A refuge for Discalced Carmelites, the monastery was constructed in 1657 as a legacy of Aveirense patron D. Brites de Lara. Originally constructed as a residential palace, a petition was made to King D. John IV to establish the convent. Authorization was received posthumously, and only after the king's descendant had begun the work of converting the former residence to a convent. The first Carmelite sisters began arriving there from convents in Lisbon in 1658. The first phase of the convent's construction continued through the reign of King D. Peter II. The church was begun in 1704, and involved the transformation of the chapel into a formal temple. In the 18th century, there were several campaigns to expand and improve the structure, resulting in profound renovations and re-decoration, including the present gilded woodwork, azulejo tile, paintings and sculpture. The last work was completed in 1738 by D. Gabriel, 7th Duke of Aveiro. The convent's last Carmelite died in 1879. In 1905 the convent was almost completely destroyed to expand the main square. On 1 June 1992 the property came under care of the Instituto Português do Património Arquitetónico, under Decree-law 106F/92. On 14 August, a public competition was held to complete the property's conservation and restoration work.
Architecture
The church is in an urban area, addorsed to the remains of the former annexes of the old convent. It is currently occupied by offices of the Public Security Police force, fronting the public square, which also include landscaped modern administrative buildings. The structure adjoins the judicial courts, the Civil Governor's building, and postal offices. Presenting a somber facade, the simple rectangular church has a sacristy along the axis of the presbytery. Its interior walls and ceiling are covered with ornate gilded woodwork in proto-Baroque, Baroque and Rococo architectural styles, and framing a number of paintings, including depictions of the lives of Mary, Christ, and Saint Teresa of Ávila. Halfway up the walls is blue and white azulejo tile attributed to 18th century artisan António Vital Rifarto of Coimbra, who was also designed the ceiling's gilded woodwork.
