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(mostly Art Nouveau and Art Deco), it reminds me of Prague's Wenceslas Square. This
strip is where the city goes to work, watched over by the huge City Hall (Câmara Muni-
cipal). Behind that is the Trindade Church, and nearby you'll find the station (also called
Trindade) where all of Porto's Metro lines converge.
Nicolau Nasoni (1691-1773)
In the 1720s—a boom time in Porto—the Italian Nasoni found work as a painter in
Porto. His swirling, colorful paintings wowed Porto, and Nasoni got plenty of work.
He married a Portuguese woman, had five kids, and made Porto his home. Soon,
he was employed as an architect, hiring skilled local artisans to turn his trademark
cherubs, garlands, and cumulus clouds into granite, wood, and poured plaster. Even
stark medieval churches had their facades topped with Baroque towers and their in-
teriors paneled and spackled in billowy gilded designs. Prolific to the max, Nasoni
redid Porto in the Baroque style (much as Bernini did in Rome), creating palaces and
churches throughout the area. His tour de force was the hill-topping Clérigos Church,
where he was later buried.
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