Prometheus Statue at University of Minho in Braga, Portugal

At the main entrance of the University of Minho’s Gualtar campus in Braga, Portugal, rises an imposing bronze sculpture of Prometheus, created in 1992 by the acclaimed Portuguese artist José Rodrigues. Commissioned with the support of the Calouste Gulbenkian Foundation and gifted to the university by the Municipality of Braga, the work was conceived as a symbol of the institution’s mission as a centre of research, culture, and intellectual freedom.

Rodrigues’ Prometheus draws on the ancient Greek myth of the Titan who defied Zeus by stealing fire from the gods and giving it to humankind, an act that brought knowledge, creativity, and progress, but also earned him eternal punishment. In this expressionist interpretation, the fragmented, textured bronze evokes the rough rock to which Prometheus was bound, the elemental forces that assailed him, and the daily torment inflicted by the eagle.

The sculpture’s inclined stone base suggests the harsh, isolated landscape of his captivity, while the figure’s contorted form captures both suffering and defiance. Yet beyond its mythological gravitas, Prometheus has acquired a distinctly irreverent legend among students. According to campus lore, the inclined stone block shifts ever so slightly each time a student who entered the university as a virgin graduates in the same state.

The fact that the base remains only marginally tilted is, in the telling of this tongue‑in‑cheek tradition, “proof” of the university’s vibrant social life. This playful myth has become as much a part of the sculpture’s identity as its artistic and symbolic dimensions, making it a favourite stop on informal campus tours.

Over the years, the statue has become a landmark and meeting point for students and visitors, as well as a ceremonial site where new arrivals “pledge fidelity” to the academic community. In the Portuguese context, it stands alongside Rodrigues’ other iconic public works, such as the Cubo da Ribeira in Porto and A Pérola in Macau, as a testament to his ability to fuse myth, place, and civic identity.