Food and drink, Vinho Verde: young, crisp wine from the Minho

Vinho Verde: young, crisp wine from the Minho

Vinho Verde is a very young, crisp wine that is produced in the Minho region. Its name translates to mean ‘young wine’, referring to the fact that it should be drunk soon after it has been bottled (and is not related to its colour, despite ‘verde’ meaning ‘green’). The Vinho Verde region, which lies between the Spanish border and the Douro Valley in the north-western corner of Portugal, was demarcated in 1908 and only permitted grapes are allowed to be used in wines that carry the Vinho Verde DOC (Denominação de Origem Controlada (Controlled Denomination of Origin)) on the label, along with the seal of guarantee and an official number.

While the majority of Vinho Verde drunk outside of Portugal is white, within Portugal it is also possible to buy rosé and red Vinho Verde. The flavour of wines from the Vinho Verde region embody the cold, damp climate and granitic soil in which the vines grow, often draped over pergola trellises or even trees to keep them off the ground to prevent the grapes from rotting. The white Vinho Verdes have a characteristic light-bodied acidity with fruity and floral notes and, at around only 10% alcohol, it is the perfect drink on a hot day. The main grape varieties used in white Vinho Verdes are Alvarinho, Arinto, Avesso, Azal, Loureiro and Trajadura, usually in blends, but some wine producers are creating single-varietal Vinho Verdes with the more-complex Alvarhino and Loureiro grapes. The rosés have a freshness with flavours of strawberries, raspberries and cherries from the Espadeiro and Padeiro grapes, while the reds, made with Amaral, Borraçal and Vinhão grapes, are an acquired taste with high tannins, a deep-red colour and, let’s not beat around the bush, a sharp taste, but are still widely drunk in northern Portugal. Red Vinho Verde is often served from a cask in a traditional small terracotta or ceramic drinking bowl rather than in a wine glass.

Another characteristic of Vinho Verde is its slight fizziness, although not enough fizz to call it a sparkling wine. In the past the fizziness was a result of malolactic fermentation (in which malic acid converts to lactic acid and during this process releases carbon dioxide), but this fermentation resulted in an unappealing cloudiness which meant the wine had to be sold in an opaque container. Nowadays, producers of Vinho Verde add the carbon dioxide artificially. It is the combination of this slight sparkle combined with the light fresh acidity that makes this a perfect wine to drink on its own on a summer’s day or as an accompaniment to white meat, fish, seafood and salads.

Pictured wines (prices as of 2020):
Casal Garcia, Quinta da Aveleda, Vinho Verde DOC (blend of Trajadura, Loureiro, Arinto and Azal), NV, €4.55
Leira do Canhoto, Quinta de Melgaço, Vinho Verde DOC (blend of Alvarinho, Loureiro and Arinto), 2014, €3.35

Food and drink, In praise of the Touriga Nacional grape: the (not so) secret ingredient in Portuguese red wine

In praise of the Touriga Nacional grape: the (not so) secret ingredient in Portuguese red wine

Until recently it is probably fair to say that Portuguese wines weren’t great. Although they were enjoyed by the Portuguese, they were unpalatable to the rest of the world. Up to the mid-1980s (when Portugal joined the European Union) wines were solely produced by co-operatives (set up during the years of the dictatorship), where traditional mindsets and working methods didn’t allow the excellent varieties of grape that grow throughout the country to be used to their full potential. In recent years small vineyards and wine producing companies have turned this around by embracing new methods and technology, combined with an understanding of blending grape varieties to create wines of a quality that can compete with those of other wine-producing countries. The success of the Portuguese red wine blends is down to one grape variety in particular, the Touriga Nacional. This is the grape used to produce the best ports and can be seen growing along the length of the Douro Valley.

River Douro

However, its importance was only recognised 30 or so years ago. It had almost died out by the 1970s due to low yields and disease, but a decade later research was done by some of the top port houses to determine which grape varieties make the best port and, of the ones they short-listed, Touriga Nacional was named the best. As a result of this research, a hardy clone was produced and Touriga Nacional is now grown in every wine-making region of Portugal, from the Douro to the Algarve. Portuguese red wines are made up of blends of grape varieties such as Tinta Barroca, Tinta Roriz/Aragonez (better known as Tempranillo), Touriga Franca, Trincadeira and Jaen, but the addition of Touriga Nacional (a dark-skinned grape rich in tannins, which on its own can be a bit over-powering) gives the wine its structure with intense aromas, flavours of dark fruit and spices, with a hint of liquorice and bergamot, and a capacity for ageing well. Even a small percentage of this grape (such as the 10% Touriga Nacional blended with 60% Tinta Roriz and 30% Touriga Franca in Casca Wines’ Bote (Douro)) can turn a mediocre blend into a full-bodied wine of international quality. Don’t be put off by the low prices (around €4 a bottle in supermarkets) which belie the quality; good wine is, thankfully, still relatively cheap in Portugal.

Pictured wines (prices as of 2020):
Adega de Vila Real (Douro – blend of Tinta Barroca, Tinta Roriz, Touriga Franca and Touriga Nacional), 2018, €3.14
Vale do Viso (Douro – blend of Touriga Nacional, Touriga Franca and Tinta Roriz), 2016, €3.94
Cartuxa Vinea (Alentejo – blend of Aragonez, Trincadeira, Alicante Bouschet, Touriga Nacional and Syrah), 2017, €3.05
Bote (Douro – blend of Tinta Roriz, Touriga Franca and Touriga Nacional), 2016, €3.85
Cabeça d’Velho (Dão – blend of Tinta Roriz, Jaen and Touriga Nacional), 2015, €2.55

Art, Art on the Metro 5: Jardim Zoológico, Lisbon

Art on the Metro 5: Jardim Zoológico

When the Jardim Zoológico Metro station in Lisbon was expanded in 1995, the Portuguese artist Júlio Resende (1917-2011) was invited to decorate the walls of the platforms. He was inspired by the nearby Lisbon Zoo (Jardim Zoológico de Lisboa) to create large-scale hand-painted murals on the glazed tiles, depicting exotic animals and plants in tones of blue, green and yellow, so that the traveller is immersed in a lush Expressionist-style tropical forest.

Food and drink, Understanding the 'couvert': a Portuguese take on the bread and olives course

Understanding the ‘couvert’: a Portuguese take on the bread and olives course

The word Couvert on Portuguese menus can be a bit misleading to foreign tourists, as it isn’t the typical fixed-fee cover charge which is added to the bill in some other countries. The term couvert in Portugal is used to describe the small dishes that are served as appetisers before the meal. Common appetisers include: pão (bread), manteiga (butter), manteiga de ervas (herb butter), manteiga com alho (garlic butter), patê de sardinha (sardine pâté), patê de atum (tuna pâté), azeitonas (olives), queijo (cheese), maionese de delícias do mar (mayonnaise with seafood), cenouras à Algarvia (Algarvian-style carrots), grão de bico or feijão-frade com bacalhau (chickpeas or black-eyed peas with cod), among many others.

In most Portuguese restaurants appetisers are brought to your table as soon as you have sat down, but there is no obligation to eat them. In Portugal you only pay for what you eat, so if you don’t eat anything from the selection you won’t be charged. The couvert should be listed on the menu, so if you are concerned about how much it is going to cost you can ask to see the menu before you decide to accept it, however, they aren’t usually very expensive. Some restaurants charge per person for a selection of appetisers, for example, for €2 per person you may get a variety of bread rolls, herb butter, garlic butter, olives and tuna pâté. Other restaurants charge per item, for example, bread (€1), olives (€1.50), tuna pâté (€2.50), cheese (€3), so you can just try the ones you want. One thing that tourists who haven’t been to Portugal before often complain about is the fact that the food is presented as if it is free and they feel ripped off when they see it included on the bill, but it is not a tourist scam, it is just a cultural difference. The presentation of appetisers is standard practice in restaurants throughout Portugal, with the intention that diners have something to nibble on while looking at the menu and waiting for their food. It is perfectly acceptable to ask the waiter/waitress to take it away if you don’t want it, or just ask him/her to leave certain items, such as the bread and olives. The quality of the appetisers can vary from restaurant to restaurant; in some you may get pre-packaged sardine pâté, whereas in others it may be freshly made in the restaurant. You may also get offered regional dishes that you wouldn’t normally get to try and, as the Portuguese proverb goes, ‘Quem não arrisca, não petisca’ (‘Nothing ventured, nothing gained’ or, literally, ‘He who doesn’t take a risk, doesn’t get to have a little snack’!).

Bom apetite!

Art, Art on the Metro 4: Martim Moniz, Lisbon

Art on the Metro 4: Martim Moniz

The Siege of Lisbon (also known as the Conquest of Lisbon), which took place in 1147, is a significant event in Portuguese history. That year the newly crowned King Afonso I of Portugal formed an army made up of Crusaders from Northern Europe to overthrow the Moorish presence in Lisbon, promising them the spoil. Despite the attacks on St George’s castle, which enclosed the Moorish city, the Moors held King Afonso’s army off for four months, but eventually the Christian army gained entry, overpowering the Moors, and then going on to ransack the city and murder anyone who got in their way. There is a legend that a knight called Martim Moniz, who was fighting in King Afonso’s army, lay down in the doorway so that the Moors couldn’t shut it, thus allowing the Christian army to enter. Despite being badly injured, the legend goes on to say that he got up and continued fighting until he finally died of his injuries. He is considered a hero in Lisbon and there is a small bust of him on a wall in the castle and he even has a square and the adjacent Metro station named after him in Lisbon.

In the Metro station the story of the Siege of Lisbon is told on the walls of the platforms through stylised minimalist cartoon-like characters created in marble by the sculptor José João Brito (b.1941) in 1997. Characters include two horses; the two bishops, D. João Peculiar (who successfully negotiated with the King of León and Castile for Portuguese independence in 1143) and D. Pedro Pitões (who persuaded the Crusaders to join King Afonso I in his attack on Lisbon); Crusaders, represented by Hervey de Glanvill (the leader of the Crusaders) and Simon of Dover (the leader of the Anglo-Norman forces); D. Afonso Henriques (King Afonso I of Portugal); and, of course, Martim Moniz, shown throwing himself between the doors.

Art, Art on the Metro 3: Restauradores, Lisbon

Art on the Metro 3: Restauradores

As travellers leave Restauradores Metro station at the Avenida da Liberdade exit they come face-to-face with a large colourful tiled mural by the Brazilian artist Luiz Ventura (b. 1930) called ‘Brasil-Portugal: 500 anos – A Chegança’ (which roughly translates to ‘Brazil-Portugal: 500 years – The Historical Folk Play’). It was completed in 1994 and added to the station to celebrate the 500th anniversary of Pedro Álvares Cabral’s discovery of Brazil in 1500. It is a depiction of a symbolic reenactment of the Portuguese explorers landing in Brazil and comments on the impact of the Age of Discovery. The Portuguese colonialists are shown aboard a caravel wearing expensive clothes and holding the navigational tools associated with the 15th– and 16th-century explorations, including a map, a compass and an armillary sphere, as well as one holding a book and pen and another, a soldier, holding a spear. They represent science, culture and military power. Also on board the caravel is a man in religious robes holding an open Bible and looking up to Heaven, representing the Catholic religion that the Portuguese brought to Brazil. Beside him is an angel and in front of her is a devil, symbolizing good and evil. In front of the devil is a chest containing chains and restraints, which disturbingly reminds us of the slave trade. On the left-hand side of the mural, outside of the caravel, are exotic fruits, flowers, plants, a bird, decorative pots and a mask, all representing the differences between the newly discovered Brazil and the old world Portugal. In the background is a caravel sailing towards the Brazilian coast, about to bring major changes to the indigenous societies. Look closely and you will see a ghostly figure on the far left of the group of Portuguese explorers, giving rise to a sense of uneasiness and foreboding.

Art, Art on the Metro 2: Cais do Sodré, Lisbon

Art on the Metro 2: Cais do Sodré

Travellers using the Metro station at Cais do Sodré are greeted by a series of floor-to-ceiling-high rabbits painted in blue on the white tiles. On one wall the rabbits are running towards the trains and on the other they are running towards the exit. The rabbits, all wearing a waistcoat and carrying a pocket watch, are based on the John Tenniel illustration of the White Rabbit character from the children’s novel Alice’s Adventures in Wonderland by Lewis Carroll (1865), who famously runs down the rabbit hole saying, ‘Oh dear! Oh dear! I shall be late!’ The paintings were done by Pedro Morais (1944-2018) in 1998 when the Metro station first opened, but they were based on sketches that the Surrealist painter António Dacosta (1914-1990) had done for the station before he died. The White Rabbit seems very a fitting image for a busy commuter station, where, like Alice, we follow him down the rabbit hole into the bowels of the station!

Art, Art on the Metro 1: Aeroporto, Lisbon

Art on the Metro 1: Aeroporto

The Lisbon Metro was extended as far as the airport in 2012 when an additional section was added to the red line, finally offering a quick and easy link between the airport and the centre of Lisbon. The artwork on the walls of this station, which was added at the same time, shows caricatures of 50 famous Portuguese men and woman from the late-nineteenth century to the present day, ranging from the worlds of literature, art, music and film to science, politics and sport. Most are unknown outside of Portugal, but they are there as familiar faces to welcome returning Portuguese travellers and also to introduce themselves to curious tourists. The caricatures, which are made of white and black stone, were created by the cartoonist António Antunes and depict: Francisco Sá Carneiro (politician (Social Democratic Party) and former Prime Minister of Portugal, 1934-1980), Álvaro Cunhal (Communist politician who fought against the Dictatorship, 1913-2005), Rafael Bordalo Pinheiro (artist and ceramicist, depicted with his most famous creation, Zé Povinho, 1846-1905), Carlos Lopes (former long-distance runner, b. 1947), Paula Rego (artist, b. 1935), Mário Cesariny (surrealist poet, 1923-2006), Duarte Pacheco (engineer and politician who is associated with a number of public works, 1900-1943),

Duarte Pacheco

Carlos Paredes (composer and accomplished Portuguese guitar player, 1925-2004),

Carlos Paredes

João Abel Manta (artist, b. 1928),

João Abel Manta

Vitorino Nemésio (writer, 1901-1978),

Vitorino Nemésio

Aquilino Ribeiro (writer, 1885-1963), Júlio Pomar (artist, 1926-2018), Luís de Freitas Branco (composer, 1890-1955), Maria Helena Vieira da Silva (Abstract Expressionist artist, 1908-1992), Maria João Pires (pianist, b. 1944), Virgílio Ferreira (Existentialist writer, 1916-1996), Amália Rodrigues (Fado singer, 1920-1999),

Amália Rodrigues

Raul Solnado (comedian, 1929-2009), João Villaret (actor, 1913-1961), António Silva (actor, 1886-1971), Vasco Santana (actor, 1898-1958), Beatriz Costa (actress, 1907-1996), António Sérgio (philosopher, 1883-1969), José Saramago (Nobel Prize-winning writer, 1922-2010), António Egas Moniz (Nobel Prize-winning neurologist, 1874-1955), António Lobo Antunes (writer, b. 1942), Stuart Carvalhais (artist, 1887-1961), Amadeo Souza-Cardoso (artist, 1887-1918), Fernando Pessoa (writer, 1888-1935), Columbano Bordalo Pinheiro (artist, 1857-1929), José Cardoso Pires (writer, 1925-1998), Alexandre O’Neil (Surrealist poet, 1924-1986), Sophia de Mello Breyner Andresen (poet, 1919-2004), Fernando Lopes-Graça (composer and conductor, 1906-1994), Cassiano Branco (architect, 1897-1970), Porfírio Pardal Monteiro (architect, 1897-1957), David Mourão-Ferreira (writer, 1927-1996), Leopoldo de Almeida (sculptor, 1898-1975), José de Almada Negreiros (Modernist artist and writer, 1893-1970), Carlos Gago Coutinho (1869-1959) and Artur Sacadura Cabral (1881-1924) (aviators who made the first aerial crossing of the South Atlantic in 1922), Natália Correira (writer, 1923-1993), José Viana da Motta (pianist and composer, 1868-1948), Ferreira de Castro (writer, 1898-1974), Calouste Gulbenkian (businessman and philanthropist, he created the Calouste Gulbenkian Foundation in Lisbon, 1869-1955), Agostinho da Silva (philosopher, 1906-1994),

Agostinho da Silva

Eusébio da Silva Ferreira (football player, 1942-2014), Diogo Freitas do Amaral (politician (Social Democratic Centre Party) and former Prime Minister of Portugal, 1941-2019), Eça de Queiroz (writer, 1845-1900), and Mário Soares (politician (Socialist Party) and former Prime Minister and President of Portugal, 1924-2017).

Architecture, Cais do Sodré station: an Art Deco gem in Lisbon, Lisbon

Cais do Sodré station: an Art Deco gem in Lisbon

Opposite the lively Time Out Market on Avenida 24 de Julho in Lisbon is the busy Cais do Sodré station, where passengers arrive and leave by train, metro or ferry throughout the day. Commuters and tourists alike travel to and from places such as Belém, Estoril and Cascais by train and Cacilhas, Seixal and Montijo by ferry.

As people hurry through the station concourse, few stop to notice the beautiful Art Deco design of the original parts of the building, which were built in 1928 by the architect Porfírio Pardal Monteiro, to replace the basic station that had been there since 1895. The original features of the Art Deco station include the main facade of white concrete, glass and iron. The top of central section of the facade, which is the main entrance to the station, is curved and at ground level there are large rectangular glass doors in iron frames topped by a large glass arched window decorated with Art Deco features in blue, black and gold, all of which allow light to flood into the station. Over the main entrance is a large steamlined unsupported portico. This central section is flanked by two rectangular sections with decorative bronze columns running down the sides, symbolic bronze Bas-reliefs depicting naked muscular men holding industrial tools and modernist mosaics.

The original entrance hall which leads into the modern main concourse is a clean light space with a light-reflecting marble floor and angular marble columns and marble walls with entryways to the main station. Covering the entire back wall of the upper level is another window which mirrors the one on the facade, but (reminding people that this is station and time is of the essence) this one has a clock in the middle of it. The walls are decorated with panels of blue geometric-patterned tiles and the arched ceiling is decorated with black, grey and white square tiles within larger black rectangles, with a border of coloured semi-circles below. An Art Deco-style wrought-iron balcony surrounds the upper level.

The design of this part of the station creates a clean, streamlined, stylish, modern effect which symbolised train travel in the 1920s. Unfortunately this design doesn’t extend to the main concourse where you are transported back to the 21st century with a jolt!

Centro region, Monastery of Santa Maria da Vitória at Batalha: a King’s promise to the Virgin Mary

Monastery of Santa Maria da Vitória at Batalha: a King’s promise to the Virgin Mary

Santa Maria da Vitória Monastery, Batalha

In 1383 King Fernando I of Portugal died without a male heir, leaving the door open for the King of Castile to sieze the Portuguese throne. However, only two years later the Portuguese throne was safe and plans for a monastery at Batalha were begun, in celebration of the decisive battle where Fernando’s illegitimate half-brother defeated the Castilian army and ensured that Portugal would remain independent for almost two hundred years.

At the time of Fernando’s death his daughter, Beatriz, was married to King Juan I of Castile and after Fernando’s death she was named Queen of Portugal, but many Portuguese people were not happy with the situation as they feared the Castilians would take control of their country. Juan proved them right by entering Portugal with an army and marching towards Lisbon. Opponents of Beatriz began to support the illegitimate son of King Pedro I, João (1357-1433), who formed an army led by the great military commander Nuno Álvares Pereira to fight against the Castilians. The two armies met on 14th August 1385 on a battlefield at São Jorge on the outskirts of Aljubarrota and the Castilians were defeated at what became known as the Battle of Aljubarrota. João was proclaimed King João I of Portugal and began plans to build a monastery at Batalha to fulfil a promise that he had made in 1385 during the Battle of Aljubarrota, in which he vowed that if the Portuguese troops defeated the Castilians he would build a monastery dedicated to the Virgin Mary of the Victory (Santa Maria da Vitória). (Outside the monastery, opposite the main portal, is a large statue honouring the real hero of the Battle of Aljubarrota, Nuno Álvares Pereira, sitting proudly on his horse with his sword at his side.) The town of Batalha (which means ‘battle’ in Portuguese) was founded at the same time.

Statue of Nuno Álvares Pereira in front of Santa Maria da Vitória Monastery, Batalha

The Monastery of Santa Maria da Vitória at Batalha is one of the best examples of Gothic and Manueline architecture in Portugal and was named a UNESCO World Heritage Site in 1983. The exterior of the Dominican monastery is of a light gold limestone decorated with spires, gables and ornamental crenellations that overwhelm the eye. It was begun in 1386 by the architect Afonso Domingues, who designed the Gothic arches in the Royal Cloister (to which the Manueline decorations of ropes, exotic flowers and crosses of the Order of Christ were added later by Diogo de Boitaca, who also decorated the cloister at the Jerónimos Monastery in Belém) and the nave of the church.

The more flamboyant elements of the church were added by the architect Huguet, who took over from Domingues in 1402, including the high ceilings and the intricate late-Gothic-style main portal, which includes statues of the apostles on either side, God on his throne above the entrance and at the very top a depiction of the crowning of the Virgin Mary.

Huguet was also responsible for the Founder’s Chapel (which João ordered to be built as a royal pantheon for the House of Aviz and in which are the tombs of João and his wife, Queen Philippa of Lancaster (1360-1415), in the centre of the chapel, placed side by side holding hands, and the tombs of their four younger sons, in niches, including Prince Henrique (1394-1460, better known in English as Henry the Navigator, the man behind Portuguese exploration in the first half of the 15th century). Above the tombs of João and Philippa is a delicate octagonal lantern ceiling, with coloured-light-reflecting stained-glass windows, which acts as a symbolic canopy over them.

The church was one of the first churches in Portugal to have stained-glass windows as part of its design and it became a centre of stained-glass production throughout the 15th and 16th centuries, however, very little remains of the original stained glass that was put in in the mid-15th century. The two main artists responsible for the original stained glass were Luís Alemão and Francisco Henriques, who was the court painter to King Manuel. There was a major restoration of the building carried out in the 19th century and most of the stained glass was replaced by Mouzinho de Albuquerque during this time and since then further restoration work has been carried out by the National School of Arts and Crafts of Batalha. Through this programme the monastery has been able to preserve what UNESCO refers to as its authenticity.

Huguet was also commissioned to build a royal mausoleum, separate from the main church, by King Duarte (1391-1438, João and Philippa’s eldest son) in 1434, but it was never completed, as his grandson King Manuel I (1469-1521) moved the royal pantheon to the Jerónimos Monastery in the early-1500s. As a result, the seven chapels in the open-roofed octagonal space are known as the Unfinished Chapels. They house the tombs of King Duarte and his wife, Queen Leonor of Aragon (1402-1445). Work on the Unfinished Chapels was taken over by the Manueline architect Mateus Fernandes at the beginning of the 16th century and the space is most notable for his 15-metre high portal with Manueline motifs dating from 1509. The portal is topped by an Italianate Renaissance balcony added in 1533 by Miguel de Arruda.

Huguet’s other great achievement in the monastery is the audacious unsupported ceiling in the Chapterhouse, of which there are several legends, including one that says that the original ceiling, designed by Afonso Domingues, collapsed twice killing many people, so it was finally rebuilt based on a design by Huguet and prisoners were used to do the work with the promise that they could go free if it didn’t collapse. Another version of this story is that Huguet had to sleep in the Chapterhouse under the ceiling for several nights to prove that it wouldn’t collapse. The Chapterhouse nowadays houses the Tomb of the Unknown Soldier. The tomb contains the bodies of two soldiers from the First World War, which are guarded by two soldiers and watched over by the Christ of the Trenches crucifix, on which Christ has lost a hand and the bottom half of both legs. The symbolic importance of this crucifix to Portuguese soldiers dates back to the First World War as it is all that remains of the crucifix from a church in Neuve-Chapelle which was destroyed in a battle of 1918 and it was later donated to Portugal by the French government in recognition of the Portuguese soldiers’ bravery during this battle. The only other object in this vast room is the Flame of the Nation sculpture, designed by António Gonçalves and forged in iron by Lourenço Chaves de Almeida in 1924, depicting three soldiers from different eras of warfare (one with a spear, one with a sword and one with a bayonet) and with an eternal flame burning at the top.

The former refectory which is just off the cloister is now used as a small military museum and outside the refectory is an ornate fountain dating from 1450 where the monks would wash their hands before eating.

Due to the careful conservation and restoration programmes, the monastery has retained most of the original features from its original inception, when King João I made his promise to the Virgin Mary. I think he would be pleased.

Practicalities

Monastery of Santa Maria da Vitória, Largo de Santa Maria da Vitória, Batalha

Opening hours
16th October to 31st March 9am-5.30pm; 1st April to 15th October 9am-6.30pm (closed 1st January, Easter Sunday, 1st May, 25th December)
Ticket: €6

Public transport
Bus: the Rodoviária do Lis interurban bus service runs between Batalha, Figueira da Foz, Leiria, Marinha Grande, Ourém, Pombal and Porto de Mós, but be warned that we tried to travel to Batalha from Leiria by bus at the most disorganized bus station I have ever encountered. Giving up on getting any useful information from the bus station staff, we finally decided to cut our losses and take a taxi.
Bus fare from Leiria to Batalha €2.15
Taxi from Leiria to Batalha €14 and from Alcobaça to Batalha €21