THE RESTORATION AND THE EIGHTEENTH CENTURY
When elected at Thomar in 1580, Philip II. of Spain had sworn to govern
Portugal only through Portuguese ministers, a promise which he seems to
have kept. He was fully alive to the importance of commanding the mouth
of the Tagus and the splendid harbour of Lisbon, and had he fixed his
capital there instead of at Madrid it is quite possible that the two
countries might have remained united.
For sixty years the people endured the ever-growing oppression and
misgovernment. The duque de Lerma, minister to Philip III., or II. of
Portugal, and still more the Conde duque de Olivares under Philip IV.,
treated Portugal as if it were a conquered province.
In 1640, the very year in which Santa Engracia was begun, the regent was
Margaret of Savoy, whose ministers, with hardly an exception, were
Spaniards.
It will be remembered that when Philip II. was elected in 1580, Dona
Catharina, duchess of Braganza and daughter of Dom Manoel's sixth son,
Duarte, duke of Guimaraes, had been the real heir to the throne of her
uncle, the Cardinal King. Her Philip had bought off by a promise of the
sovereignty of Brazil, a promise which he never kept, and now in 1640
her grandson Dom Joao, eighth duke of Braganza and direct descendant of
Affonso, a bastard son of Dom Joao I., had succeeded to all her rights.
He was an unambitious and weak man, fond only of hunting and music, so
Olivares had thought it safe to restore to him his ancestral lands; and
to bind him still closer to Spain had given him a Spanish wife, Luisa
Guzman, daughter of the duke of Medina Sidonia. Matters, however, turned
out very differently from what he had expected. A gypsy had once told
Dona Luisa that she would be a queen, and a queen she was determined to
be. With difficulty she persuaded her husband to become the nominal head
of the conspiracy for the expulsion of the Spaniards, and on the 1st of
December 1640 the first blow was struck by the capture of the regent and
her ministers in the palace at Lisbon. Next day, December 2nd, the duke
of Braganza was saluted as King Dom Joao IV. at Villa Vicosa, his
country home beyond Evora.
The moment of the revolution was well chosen, for Spain was at that time
struggling with a revolt which had broken out in Cataluna, and so was
unable to send any large force to crush Dom Joao. All the Indian and
African colonies at once drove out the Spaniards, and in Brazil the
Dutch garrisons which had been established there by Count Maurice of
Nassau were soon expelled.
Though a victory was soon gained over the Spaniards at Montijo, the war
dragged on for twenty-eight years, and it was only some years after Don
John of Austria[168] had been defeated at Almeixial by Schomberg (who
afterwards took service under William of Orange) that peace was finally
made in 1668. Portugal then ceded Ceuta, and Spain acknowledged the
independence of the revolted kingdom, and granted to its sovereign the
title of Majesty.
It is no great wonder, then, that with such a long-continued war and an
exhausted treasury a building like Santa Engracia should have remained
unfinished, and it would have been well for the architecture of the
country had this state of poverty continued, for then far more old
buildings would have survived unaltered and unspoiled.
Unfortunately by the end of the seventeenth century trade had revived,
and the discovery of diamonds and of gold in Brazil had again brought
much wealth to the king.
Of the innumerable churches and palaces built during the eighteenth
century scarcely any are worthy of mention, for perhaps the great
convent palace of Mafra and the Capella Mor of the Se at Evora are the
only exceptions.
In the early years of that century King Joao V. made a vow that if a son
was born to him, he would, on the site of the poorest monastery in the
country, build the largest and the richest. At the same time anxious to
emulate the glories of the Escorial, he determined that his building
should contain a palace as well as a monastery--indeed it may almost be
said to contain two palaces, one for the king on the south, and one on
the north for the queen.
[Sidenote: Mafra.]
A son was born, and the poorest monastery in the kingdom was found at
Mafra, where a few Franciscans lived in some miserable buildings. Having
found his site, King Joao had next to find an architect able to carry
out his great scheme, and so low had native talent fallen, that the
architect chosen was a foreigner, Frederic Ludovici or Ludwig, a German.
The first stone of the vast building was laid in 1717, and the church
was dedicated thirteen years later, in 1730.[169]
The whole building may be divided into two main parts. One to the east,
measuring some 560 feet by 350, and built round a large square
courtyard, was devoted to the friars, and contained the convent
entrance, the refectory, chapter-house, kitchen, and cells for two
hundred and eighty brothers, as well as a vast library on the first
floor.
The other and more extensive part to the west comprises the king's
apartments on the south side, the queen's on the north, and between them
the church.
It is not without interest to compare the plan of this palace or
monastery with the more famous Escorial. Both cover almost exactly the
same area,[170] but while in the Escorial the church is thrust back at
the end of a vast patio, here it is brought forward to the very front.
There the royal palace occupies only a comparatively small area in the
north-west corner of the site, and the monastic part the whole lying
south of the entrance patio and of the church; here the monastic part is
thrust back almost out of sight, and the palace stretches all along the
west front except where it is interrupted in the middle by the church.
Indeed the two buildings differ from one another much as did the
characters of their builders. The gloomy fanaticism of Philip of Spain
is exemplified by the preponderance of the monastic buildings no less
than by his own small dark bed-closet opening only to the church close
to the high altar. Joao V., pleasure-loving and luxurious, pushed the
friars to the back, and made his own and the queen's rooms the most
prominent part of the whole building, and one cannot but feel that,
though a monastery had to be built to fulfil a vow, the king was
actuated not so much by religious zeal as by an ostentatious megalomania
which led him to try and surpass the size of the Escorial.
[Illustration: PLAN OF MAFRA]
To take the plan rather more in detail. The west front, about 740 feet
long, is flanked by huge square projecting pavilions. The king's and the
queen's apartments are each entered by rather low and insignificant
doorways in the middle of the long straight blocks which join these
pavilions to the church. These doors lead under the palace to large
square courtyards, one on each side of the church, and forming on the
ground floor a cloister with a well-designed arcading of round arches,
separated by Roman Doric shafts. The king's and the queen's blocks are
practically identical, except that in the king's a great oval hall
called the Sala dos actos takes the place of some smaller rooms between
the cloister and the outer wall.
Between these blocks stands the church reached by a great flight of
steps. It has a nave and aisles of three large and one small bay, a dome
at the crossing, and transepts and chancel ending in apses. In front,
flanking towers projecting beyond the aisles are united by a long
entrance porch.
Between the secular and the monastic parts a great corridor runs north
and south, and immediately beyond it a range of great halls, including
the refectory at the north end and the chapter-house at the south.
Further east the great central court with its surrounding cells divides
the monastic entrance and great stair from such domestic buildings as
the kitchen, the bakery, and the lavatory. Four stories of cells occupy
the whole east side.
Though some parts of the palace and monastery such as the two entrance
courts, the library, and the interior of the church, may be better than
might have been expected from the date, it is quite impossible to speak
at all highly of the building as a whole.
It is nearly all of the same height with flat paved roofs; indeed the
only breaks are the corner pavilions and the towers and dome of the
church.
The west side consists of two monotonous blocks, one on each side of the
church, with three stories of windows. At either end is a great square
projecting mass, rusticated on the lowest floor, with short pilaster
strips between the windows on the first, and Corinthian pilasters on the
second. The poor cornice is surmounted by a low attic, within which
rises a hideous ogee plastered roof. (Fig. 100.)
The church in the centre loses much by not rising above the rest of the
front, and the two towers, though graceful enough in outline, are poor
in detail, and are finished off with a very ugly combination of hollow
curves and bulbous domes.
The centre dome, too, is very poor in outline with a drum and lantern
far too tall for its size; though of course, had the drum been of a
better proportion, it would hardly have shown above the palace roof.
Still more monotonous are the other sides with endless rows of windows
set in a pink plastered wall.
Very different is the outline of the Escorial, whose very plainness and
want of detail suits well the rugged mountain side in which it is set.
The main front with its high corner towers and their steep slate roofs,
and with its high centre-piece, is far more impressive, and the mere
reiteration of its endless featureless windows gives the Escorial an
appearance of size quite wanting to Mafra. Above all the great church
with massive dome and towers rises high above all the rest, and gives
the whole a sense of unity and completeness which the smaller church of
Mafra, though in a far more prominent place, entirely fails to do.
Poor though the church at Mafra is outside, inside there is much to
admire, and but little to betray the late date. The porch has an
effective vault of black and white marble, and domes with black and
white panels cover the spaces under the towers. Inside the church is all
built of white marble with panels and pilasters of pink marble from Pero
Pinheiro on the road to Cintra. (Fig. 101.)
The whole church measures about 200 feet long by 100 wide, with a nave
also 100 feet long. The central aisle is over 40 feet wide, and has two
very well-proportioned Corinthian pilasters between each bay. Almost the
only trace of the eighteenth century is found in the mouldings of the
pendentive panels, and in the marble vault, but on the whole the church
is stately and the detail refined and restrained.
The refectory, a very plain room with plastered barrel vault, 160 feet
long by 40 wide, is remarkable only for the splendid slabs of Brazil
wood which form the tables, and for the beautiful brass lamps which hang
from the ceiling.
Much more interesting is the library which occupies the central part of
the floor above. Over 200 feet long, it has a dome-surmounted transept
in the middle, and a barrel vault divided into panels. All the walls are
lined with bookcases painted white like the barrel vault and like the
projecting gallery from which the upper shelves are reached. One half is
devoted to religious, and one half to secular books, and in the latter
each country has a space more or less large allotted to it. As scarcely
any books seem to have been added since the building was finished, it
should contain many a rare and valuable volume, and as all seem to be in
excellent condition,
[Illustration: FIG. 100.
MAFRA.
W. FRONT OF PALACE.]
[Illustration: FIG. 101.
MAFRA.
INTERIOR OF CHURCH.]
they might well deserve a visit from some learned book-lover.
Mafra does not seem to have ever had any interesting history. Within the
lines of Torres Vedras, the palace escaped the worst ravages of the
French invasion. In 1834 the two hundred and eighty friars were turned
out, and since then most of the vast building has been turned into
barracks, while the palace is but occasionally inhabited by the king
when he comes to shoot in the great wooded _tapada_ or enclosure which
stretches back towards the east.
[Sidenote: Evora, Capella Mor.]
Just about the time that Joao V. was beginning his great palace at
Mafra, the chapter of the cathedral of Evora came to the conclusion that
the old Capella Mor was too small, and altogether unworthy of the
dignity of an archiepiscopal see. So they determined to pull it down,
and naturally enough employed Ludovici to design the new one. The first
stone was laid in 1717, and the chancel was consecrated in 1746 at the
cost of about L27,000.
The outside, of white marble, is enriched with two orders of pilasters,
Corinthian and Composite. Inside, white, pink and black marbles are
used, the columns are composite, but the whole design is far poorer than
anything at Mafra.
King Joao V. died in 1750 after a long and prosperous reign. Besides
building Mafra he gave great sums of money to the Pope, and obtained in
return the division of Lisbon into two bishoprics, and the title of
Patriarch for the archbishop of Lisboa Oriental, or Eastern Lisbon.
When he died he was succeeded by Dom Jose, whose reign is noted for the
terrible earthquake of 1755, and for the administration of the great
Marques de Pombal.
It was on the 1st of November, when the population of Lisbon was
assembled in the churches for the services of All Saints' day, that the
first shock was felt. This was soon followed by two others which laid
the city in ruins, killing many people. Most who had escaped rushed to
the river bank, where they with the splendid palace at the water's edge
were all overwhelmed by an immense tidal wave.
The damage done to the city was almost incalculable. Scarcely a house
remained uninjured, and of the churches nearly all were ruined. The
cathedral was almost entirely destroyed, leaving only the low chapels
and the romanesque nave and transepts standing, and of the later
churches all were ruined, and only Sao Roque and Sao Vicente de
Fora--which lost its dome--remained to show what manner of churches were
built at the end of the sixteenth century.
This is not the place to tell of the administration of the Marques de
Pombal, who rose to eminence owing to the great ability he showed after
this awful calamity, or to give a history of how he expelled the
Jesuits, subdued the nobles, attempted to make Portugal a manufacturing
country, abolished slavery and the differences between the _Old_ and the
_New Christians_, reformed the administration and the teaching of the
University of Coimbra, and robbed the Inquisition of half its terrors by
making its trials public. In Lisbon he rebuilt the central part of the
town, laying out parallel streets, and surrounding the Praca do
Commercio with great arcaded government offices; buildings remarkable
rather for the fine white stone of which they are made, than for any
architectural beauty. Indeed it is impossible to admire any of the
buildings erected in Portugal since the earthquake; the palaces of the
Necessidades and the Ajuda are but great masses of pink-washed plaster
pierced with endless windows, and without any beauty of detail or of
design.
[Sidenote: Lisbon, Estrella.]
Nor does the church of the Coracao de Jesus, usually called the
Estrella, call for any admiration. It copies the faults of Mafra, the
tall drum, the poor dome, and the towers with bulbous tops.
[Sidenote: Oporto, Torre dos Clerigos.]
More vicious, indeed, than the Estrella, but much more original and
picturesque, is the Torre dos Clerigos at Oporto, built by the clergy in
1755. It stands at the top of a steep hill leading down to the busiest
part of the town. The tower is a square with rounded corners, and is of
very considerable height. The main part is four stories in height, of
which the lowest is the tallest and the one above it the shortest. All
are adorned with pilasters or pilaster strips, and the third, in which
is a large belfry window, has an elaborate cornice, rising over the
window in a rounded pediment to enclose a great shield of arms. The
fourth story is finished by a globe-bearing parapet, within which the
tower rises to another parapet much corbelled out. The last or sixth
story is set still further back and ends in a fantastic dome-shaped
roof. In short, the tower is a good example of the wonderful and
ingenious way in which the eighteenth-century builders of Portugal often
contrived the strangest results by a use--or misuse--of pieces of
classic detail, forming a whole often more Chinese than Western in
appearance, but at the same time not unpicturesque.[171]
[Sidenote: Oporto, Quinta do Freixo.]
A much more pleasing example of the same school--a school doubtless
influenced by the bad example of Churriguera in Spain--is the house
called the Quinta do Freixo on the Douro a mile or so above the town.
Here the four towers with their pointed slate roofs rise in so
picturesque a way at the four corners, and the whole house blends so
well with the parapets and terraces of the garden, that one can almost
forgive the broken pediments which form so strange a gable over the
door, and the still more strange shapes of the windows. Now that factory
chimneys rise close on either side the charm is spoiled, but once the
house, with its turrets, its vase-laden parapets, its rococo windows,
and the slates painted pale blue that cover its walls, must have been a
fit setting for the artificial civilisation of a hundred and fifty years
ago, and for the ladies in dresses of silk brocade and gentlemen in
flowered waistcoats and powdered hair who once must have gone up and
down the terrace steps, or sat in the shell grottoes of the garden.
[Sidenote: Queluz.]
Though less picturesque and fantastic, the royal palace at Queluz,
between Lisbon and Cintra, is another really pleasing example of the
more sober rococo. Built by Dom Pedro III. about 1780, the palace is a
long building with a low tiled roof, and the gardens are rich in
fountains and statues.
[Sidenote: Guimaraes, Quinta.]
Somewhat similar, but unfinished, and enriched with niches and statues,
is a Quinta near the station at Guimaraes. Standing on a slope, the
garden descends northwards in beautiful terraces, whose fronts are
covered with tiles. Being well cared for, it is rich in beautiful trees
and shrubs.
[Sidenote: Oporto, Hospital and Factory.]
Much more correct, and it must be said commonplace, are the hospital and
the English factory--or club-house--in Oporto. The plans of both have
clearly been sent out from England, the hospital especially being
thoroughly English in design. Planned on so vast a scale that it has
never been completed, with the pediment of its Doric portico unfinished,
the hospital is yet a fine building, simple and severe, not unlike what
might have been designed by some pupil of Chambers.
The main front has a rusticated ground floor with round-headed windows
and doors. On this in the centre stands a Doric portico of six columns,
and at the ends narrower colonnades of four shafts each. Between them
stretches a long range of windows with simple, well-designed
architraves. The only thing, apart from its unfinished condition, which
shows that the hospital is not in England, are some colossal figures of
saints which stand above the cornice, and are entirely un-English in
style.
Of later buildings little can be said. Many country houses are pleasing
from their complete simplicity; plastered, and washed pink, yellow, or
white, they are devoid of all architectural pretension, and their low
roofs of red pantiles look much more natural than do the steep slated
roofs of some of the more modern villas.
The only unusual point about these Portuguese houses is that, as a rule,
they have sash windows, a form of window so rare in the South that one
is tempted to see in them one of the results of the Methuen Treaty and
of the long intercourse with England. The chimneys, too, are often
interesting. Near Lisbon they are long, narrow oblongs, with a curved
top--not unlike a tombstone in shape--from which the smoke escapes by a
long narrow slit. Elsewhere the smoke escapes through a picturesque
arrangement of tiles, and hardly anywhere is there to be seen a simple
straight shaft with a chimney can at the top.
For twenty years after the end of the Peninsular War the country was in
a more or less disturbed state. And it was only after Dom Miguel had
been defeated and expelled, and the more liberal party who supported
Dona Maria II. had won the day, that Portugal again began to revive.
In 1834, the year which saw Dom Miguel's surrender, all monasteries
throughout the country were suppressed, and the monks turned out. Even
more melancholy was the fate of the nuns, for they were allowed to stay
on till the last should have died. In some cases one or two survived
nearly seventy years, watching the gradual decay of their homes, a decay
they were powerless to arrest, till, when their death at last set the
convents free, they were found, with leaking roofs, and rotten floors,
almost too ruinous to be put to any use.
The Gothic revival has not been altogether without its effects in
Portugal. Batalha has been, and Alcobaca is being, saved from ruin. The
Se Velha at Coimbra has been purged--too drastically perhaps--of all the
additions and disfigurements of the eighteenth century, and the same is
being done with the cathedral of Lisbon.
Such new buildings as have been put up are usually much less successful.
Nothing can exceed the ugliness of the new domed tower of the church of
Belem, or of the upper story imposed on the long undercroft. Nor can the
new railway station in the Manoelino style be admired.
Probably the best of such attempts to copy the art of Portugal's
greatest age is found at Bussaco, where the hotel, with its arcaded
galleries and its great sphere-bearing spire, is not unworthy of the
sixteenth century, and where the carving, usually the spontaneous work
of uninstructed men, shows that some of the mediaeval skill, as well as
some of the mediaeval methods, have survived till the present century.
BOOKS CONSULTED
Hieronymi Osorii Lusitani, Silvensis in Algarviis Episcopi: _De
rebus Emmanuelis, etc._ Cologne, 1597.
Padre Ignacio da Piedade e Vasconcellos: _Historia de Santarem
Edificada_. Lisboa Occidental, 1790.
J. Murphy: _History and Description of the Royal Convent of
Batalha_. London, 1792.
Raczynski: _Les Arts en Portugal_. Paris, 1846.
Raczynski: _Diccionaire Historico-Artistique du Portugal_. Paris,
1847.
J. C. Robinson: 'Portuguese School of Painting' in the _Fine Arts
Quarterly Review_. 1866.
Simoes, A. F.: _Architectura Religiosa em Coimbra na Idade Meia_.
Ignacio de Vilhena Barbosa: _Monumentos de Portugal Historicos,
etc._ Lisboa, 1886.
Oliveira Martims: _Historia de Portugal_.
Pinho Leal: _Diccionario Geographico de Portugal_.
Albrecht Haupt: _Die Baukunst der Renaissance in Portugal_.
Frankfurt A.M., 1890.
Visconde de Condeixa: _O Mosteiro da Batalha em Portugal_. Lisboa &
Paris.
Justi: 'Die Portugiesische Malerei des 16ten Jahrhunderts' in the
_Jahrbuch der K. Preuss. Kunstsammlung_, vol. ix. Berlin, 1888.
Joaquim Rasteiro: _Quinta e Palacio de Bacalhoa em Azeitao_.
Lisboa, 1895.
Joaquim de Vasconcellos: 'Batalha' & 'Sao Marcos' from _A Arte e a
Natureza em Portugal._ Ed. E. Biel e Cie. Porto.
L. R. D.: _Roteiro Illustrado do Viajante em Coimbra_. Coimbra,
1894.
Caetano da Camara Manoel: _Atravez a Cidade de Evora, etc._ Evora,
1900.
Conde de Sabugosa: _O Paco de Cintra_. Lisboa, 1903.
Augusto Fuschini: _A Architectura Religiosa da Edade Media_.
Lisboa, 1904.
Jose Queiroz: _Ceramica Portugueza_. Lisboa, 1907.
INDEX
A
Abd-el-Melik, 244.
Abrantes, 41, 103.
Abreu, L. L. d', 233.
Abu-Zakariah, the vezir, 44.
Affonso II., 64, 65.
---- III., 7, 64, 67, 68, 75, 116.
---- IV., 43, 73, 74, 76.
---- V., 92, 101, 102, 127, 134, 143, 161, 171, 176.
---- VI., 24, 127.
---- I., Henriques, 6, 31, 38, 40, 41, 44, 51, 117, 166, 196, 197.
---- of Portugal, Bishop of Evora, 19.
---- son of Joao I., 261.
---- son of Joao II., 144.
Africa, 66, 144, 161.
Aguas Santas, 33, 136.
Agua de Peixes, 131.
Ahmedabad, 159, 176, 180.
Albuquerque, Affonso de, 25, 144, 158, 170, 183, 255.
---- Luis de, 180, 183 _n._
Alcacer-Quebir, battle of, 216, 244.
Alcacer Seguer, 102.
Alcantara, 28.
Alcobaca, 44, 45, 48, 55, 57, 58, 59, 60, 68, 70, 71,
75-78, 82, 166, 204, 206, 223, 227, 231, 270.
Al-Coraxi, emir, 42.
Alemquer, 217.
Alemtejo, 1, 10, 51, 100, 129, 143.
Alexander VI., Pope, 158.
Alfonso VI. of Castile and Leon, 6, 117.
---- VII. of Castile and Leon, 6, 7, 38, 39.
---- X. of Castile and Leon, 68.
Alga, San Giorgio in, 133.
Algarve, the, 7, 67, 68, 116, 219.
Alhambra, the, 120, 128.
Aljubarrota, battle of, 7, 18, 80, 93, 98.
Almada, Rodrigo Ruy de, 11.
Almansor, 30, 42.
Almeida, Bishop Jorge d', 21, 48, 206, 208, 209, 210.
Almeirim, palace of, 122, 144, 229, 240.
Almeixial, battle of, 262.
Almourol, 41.
Almoravides, the, 6.
Alvares, the, 49, 242, 244.
---- Baltazar, 252, 253.
---- Fernando, 19.
Alvito, 27, 100, 129-132, 255.
Amarante, 237.
Amaro, Sant', 27.
Amboise, Georges d', 202.
Anca, 204.
Andalucia, 4.
Andrade, Fernao Peres de, 144.
Angra do Heroismo, in the Azores, 260.
Annes, Canon Goncalo, 20 _n._
---- Margarida, 91 _n._
---- Pedro, 197.
Antunes, Aleixo, 228.
Antwerp, 11.
Arabes, Sala dos, Cintra, 23, 24, 124.
Aragon, 5.
Arganil, Counts of, 206, 207.
Arraes, Frey Amador, 252.
Arruda, Diogo de, 162.
Astorga, 41.
Asturias, 5.
---- Enrique, Prince of the, 81.
Augustus, reign of, 3.
Ave, river, 2, 29, 31, 107.
Aveiro, convent at, 142.
---- the Duque d', 140.
---- Dukes of, 251.
Avignon, 161.
Aviz, House of, 8.
Azeitao, 255.
Azila, in Morocco, 134, 243, 244.
Azurara, 63, 107, 108, 136.
B
Bacalhoa, Quinta de, 22, 25, 27, 176 _n._, 183, 255.
Barbosa, Francisco, 212.
---- Gonzalo Gil, 212.
Barcellos, 127.
Barcelona, 5.
Batalha, 24, 61 _n._, 62, 63, 65, 70, 78, 80-92, 95, 96,
97, 99, 109, 159, 171-181, 193, 194, 204, 224, 227, 230-233, 270.
Bayao, Goncalo, 240.
Bayona, in Galicia, 39.
Beatriz, Dona, wife of Charles III. of Savoy, 14.
---- Queen of Affonso III., 68, 75.
---- ---- Affonso IV., 117.
Bebedim, 116, 168 _n._
Beckford, 59.
Beira, 1, 7, 64.
Beja, 7, 51, 69, 148, 255, 256.
---- Luis, Duke of, 14.
Belem, 14, 15, 16, 20, 28, 100, 104, 162, 164, 166, 171, 172, 177,
183-195, 221, 222, 227, 231, 241, 271.
---- Tower of Sao Vicente, 146, 179, 181-183, 194.
Bernardo (of Santiago), 36, 48 _n._
---- Master, 48.
Bernard, St., of Clairvaux, 59.
Boelhe, 32.
Bonacofu, 102.
Boulogne, Countess of, 68, 75.
Boutaca, or Boitaca, 147, 149, 184, 231.
Braga, 2, 3, 18, 19, 31, 34-40, 52, 62, 67, 98, 99, 104, 112-115.
Braganza, Archbishop Jose de, 114 _n._
---- Catherine, Duchess of, 244, 261.
---- Duke of, 143.
---- Dukes of, 127.
---- Joao, Duke of, 261.
Brandao, Francisco, 11.
Brazil, 8, 66, 144, 158, 160, 222, 243, 244, 261, 262.
Brazil, Pedro of, 8.
Brazoes, Sala dos, Cintra, 24, 126, 138, 151.
Brites, Dona, daughter of Fernando I., 80.
---- ---- mother of D. Manoel, 25, 183 _n._
Buchanan, George, 198 _n._
Bugimaa, 116, 168 _n._
Burgos, 90.
Burgundy, Count Henry of, 6, 37, 41, 42, 114, 117.
---- Isabel, Duchess of, 11, 98 _n._, 120.
Bussaco, 271.
C
Cabral, Pedro Alvares, 8, 101, 144, 158, 170, 206.
Caldas da Rainha, 27, 146, 147.
Cales, 6.
Calicut, Portuguese at, 8, 144, 157, 158, 183.
Calixtus III., Pope, 161.
Camara, Luis Goncalves de, 243.
Caminha, 27, 109, 110, 136, 137, 218, 220.
Cantabrian Mountains, 1, 5.
Cantanhede, 215 _n._
Canterbury Cathedral, 82.
Canton, Portuguese at, 144.
Cao, Diogo, 143.
Cardiga, 229.
Carlos, Frey, painter, 12.
Carnide, Pero de, 149.
Carreira, house of Visconde de, 254.
Carreiro, Pero, 212.
Carta, Diogo da, 192.
Carvalho, Pero, 229.
Castello Branco, Cardinal Affonso de, 19, 20, 140, 250.
Castile, 5, 6, 7, 44, 80.
---- Constance of, 80, 81.
Castilho, Diogo de, 188, 196, 198, 199.
---- Joao de, 22, 28, 72, 162, 164-166, 169, 171, 172, 184, 195, 196, 199,
200, 212, 222-239.
---- Maria de, 162.
Castro de Avelans, 58.
---- Guiomar de, 213, 215.
---- Inez de, 38, 62, 76-78, 88.
---- Isabel de, 102.
Castro-Marim, 161.
Cataluna, 5, 262.
Catharina, queen of Joao III., 240, 243.
Cavado, river, 29.
Cellas, 70.
Ceras, 55.
Cetobriga, 2, 4.
Ceuta, 88, 100, 101, 262.
Ceylon, loss of, 244.
Chambers, 269.
Chantranez, Nicolas. See Nicolas, Master.
Chelb. See Silves.
Chillenden, Prior, 82.
Chimneys, 270.
China, Portuguese in, 158.
Christo de la Luz, 116.
Churriguera, 269.
Cintra, 21, 22, 23, 28, 116-128, 130, 136-138, 148, 184, 215, 216.
Citania, 2, 3.
Clairvaux, 59, 60.
Claustro Real, Batalha, 178-180.
Clement v., Pope, 161.
Coca, in Spain, 183.
Cochin, Portuguese in, 158.
Cogominho, Pedro Esteves, 94.
Coimbra, 16, 17, 19, 30, 40, 44, 79, 80, 109, 184, 239, 244.
---- Archdeacon Joao de, 114.
---- Carmo, 252.
---- County of, 6.
---- Episcopal palace, 250.
---- Graca, 252.
---- Misericordia, 140, 250.
---- Pedro, Duke of, 88, 101.
---- Sao Bento, 252.
---- Sao Domingos, 251.
---- Sao Thomaz, 237.
---- Sta. Clara, 72. New, 259.
---- Sta. Cruz, 12, 13, 20, 151, 153, 160, 188, 192, 196-200, 214, 215, 234,
258.
---- Se Nova, 248, 253, 259.
---- Se Velha, 19, 23, 41, 45, 49-51, 54, 62, 63, 71, 110,
206-210, 251, 270.
---- University, 59, 141, 153, 198, 268.
Columbus, Christopher, 8, 143.
Condeixa, 2, 3.
---- Visconde de, 89.
Conimbriga, 2, 3.
Conselbo, Sala do, Cintra, 24, 121.
Cordeiro, Johan, 149.
Cordoba, 116.
Coro, the, Thomar, 161-170.
Coutinho, Beatriz, 101.
Crato, Prior of, 244.
Cunha, Joao Lourenco da, 74 _n._
---- Tristao da, 170.
Cyprus, 89.
Cysnes, Sala de. See Swan Hall.
D
Dartmouth, 44.
David, Gerhard, 12.
Delhi, Old, Kutub at, 176.
Diana, Pateo de, Cintra, 24, 125.
Diaz, Bartholomeu, 143, 170.
Diniz, Dom, King, 7, 59, 62, 69, 72, 117, 161, 167, 223.
---- ---- son of Inez de Castro, 79.
Diogo, Duke of Vizen, 143, 161.
D'ipri, Joao, 49, 287.
Diu, 158.
Domingues, Affonso, 71, 82, 90.
---- Domingo, 71, 82.
Douro, river, 1, 2, 5, 6, 44, 256.
Dralia, Johannes, 13.
Duarte, Dom, 88, 91, 101, 122, 171, 172.
Durando, Bishop of Evora, 51, 54.
Duerer, Albert, 11.
E
Eannes, Affonso, 98.
---- Diogo, 109.
---- Goncalo, 98.
---- Rodrigo, 98.
Earthquake at Lisbon, 8, 98, 192, 267, 268.
Ebro, river, 5.
Eduard, Felipe, 239.
See Uduarte.
Ega, 117.
Egas Moniz, 7, 38, 39, 41.
Eja, 32.
El-Kasar-el-Kebir, 244.
Elsden, William, 60.
Elvas, 28, 152, 236.
English influence, supposed, 82-92.
Entre Minho e Douro, 29, 30.
Escorial, the, 247, 263-266.
Escudos, Sala dos. See Sala dos Brazoes.
Espinheiro, 12.
Essex, Earl of, 68.
Estaco, Gaspar, 93 _n._
Esteves, Pedro, 94.
Estrella, Serra d', 1.
Estremadura, 1, 2, 64.
Estremoz, 219.
Eugenius IV., Pope, 161.
Evora, 2, 9 _n._, 12, 51, 129, 143, 183, 198, 241.
---- Cartuxa, 255.
---- Fernao d', 92.
---- Graca, 242.
---- Henrique, Archbishop of, 14, 20.
---- Monte, 9.
---- Morgado de Cordovis, 132.
---- Pacos Reaes, 132.
---- Resende, House of, 146, 148, 179.
---- Sao Braz, 135.
---- Sao Domingos, 219.
---- Sao Francisco, 134, 163.
---- Se, 17, 19, 30, 51-55, 62, 64, 71, 72, 89, 192, 260, 262, 267.
---- Temple, 4.
---- University, 243.
Eyck, J. van, 11.
F
Familicao, 32.
Faro, 68 _n._, 237.
Felix, the goldsmith, 18.
Fenacho, Joao, 154.
Fernandes, Antonius, 200.
---- Diogo, 159.
---- Lourenco, 184.
---- Matheus, sen., 171, 172, 175, 200, 222, 230.
---- Matheus, jun., 171, 175, 178, 179, 200, 222, 230.
---- Thomas, 159.
---- Vasco, 12.
Ferdinand and Isabella (the Catholic king), 87, 144, 189.
Fernando I. of Castile and Leon, 5, 6, 44, 47.
---- I., Dom, 7, 74, 76, 78, 79.
---- son of Joao I., 88.
---- ---- Dom Duarte, 161.
Figueira de Foz, 212.
Figueredo, Christovao de, 198, 200, 201.
Flanders, Isabel of. See Burgundy, Duchess of.
Fontenay, 59, 71.
Fontfroide, 71.
Furness, 59.
Funchal, in Madeira, 67, 110, 136, 137, 192, 206, 211.
G
Galicia, 2, 5, 6, 7, 29, 42, 44, 67.
Gama, Vasco da, 8, 125, 143, 144, 157, 170, 183, 185, 188, 195, 206.
Gandara, 32.
Garcia, King of Galicia, 6.
Gata, Sierra de, 1.
Gaunt, John of, 80, 81.
---- ---- Philippa, daughter of. See Lancaster, Philippa of.
Gerez, the, 1, 3, 29.
Gilberto, Bishop. See Hastings, Gilbert of.
Giraldo, Sao, 18.
Giustiniani, San Lorenzo, 28, 133.
Goa (India), 20, 144, 158, 200, 234 _n._
Goes, 219.
---- Damiao de, 11, 145.
Gollega, 151, 152, 153.
Gomes, Goncalo, 149.
Gonsalves, Andre, 149.
---- Eytor, 198.
Goth, Bertrand de. See Clement V.
Granada, 116, 161.
Guadiana, river, 1.
Guarda, 33, 61 _n._, 62, 95-99, 151, 238.
---- Fernando, Duke of, 14.
Guadelete, 5.
Guimaraes, 2, 3, 7, 17, 18, 19, 20, 31, 38, 41, 42, 63,
65, 70, 80, 93, 94, 103, 127, 269.
---- Duarte, Duke of, 14, 244, 261.
Gujerat, 159, 183.
Guntino, Abbot, 73.
Guzman, Beatriz de, 68.
See Beatriz, Queen of Affonso III.
---- Luisa, Queen of Joao IV., 261.
H
Haro, Dona Mencia de, 67.
Hastings, Gilbert of, 45, 55.
Haupt, Albrecht, 82, 85, 130, 159, 176, 177, 183.
Henares, Alcala de, 234.
Henriques, Francisco, 135.
Henry, Cardinal King, 14, 20, 59, 72, 144, 222, 223, 241-244, 261.
---- Prince, the Navigator, Duke of Vizen, 8, 70, 88,
102, 103, 161, 169, 170, 183, 188, 195.
---- VII. of England, 166.
Herculano, 185.
Herrera, 247.
Hollanda, Antonio de, 16, 17.
---- Francisco de, 17.
Holy Constable. See Pereira, Nuno Alvares.
Huguet (Ouguet, or Huet), 82, 90, 91, 98, 178.
I
Idacius, 4.
Idanha a Velha, 57.
India, 66, 144, 159, 243.
Indian influence, supposed, 159, 183.
Inquisition, the, 222, 248.
Isabel, St., Queen, 19, 20, 72, 117, 260.
---- Queen of D. Manoel, 87, 144, 189.
---- Queen of Charles V., 14, 244.
Italian influence, 219.
J
Jantar, Sala de, Cintra, 24, 123.
Japan, Portuguese in, 158.
Jeronymo, 203.
Jews, expulsion of the, 144.
Joao I., 1, 8, 11, 18, 23, 24, 42, 80, 81, 84, 88, 93, 95,
101, 117, 122, 123, 178, 244.
---- II., 8, 25, 92, 97, 93, 130, 131, 143, 144, 161, 171, 176, 179, 181.
---- III., 17, 95, 162, 185, 196, 198, 216, 218, 219,
221, 222, 224, 225, 236, 242, 243, 248, 251, 256.
---- IV., 59, 261, 262.
---- V., 262, 263, 267.
---- Dom, son of Inez de Castro, 79, 80.
---- ---- son of Joao I., 88.
John, Don, of Austria, son of Philip of Spain, 262.
John XXII., Pope, 161.
Jose, Dom, 267.
Junot, Marshal, 8.
Justi, 12, 13.
L
Lagos, Sao Sebastiao at, 219.
Lagrimas, Quinta das, 76.
Lamego, 4, 9 _n._, 44, 111, 237.
Lancaster, Philippa of, 81, 84, 88, 89, 100, 122.
Leca do Balio, 41, 42 _n._, 63, 67, 73, 74, 79.
Leiria, 33, 69, 260.
Leyre, S. Salvador de, 35 _n._
Lemos family, 219.
Leo X., Pope, 122.
Leon, 1, 2, 5, 6, 7, 29, 44, 80.
Leonor, Queen of Joao II., 146, 153, 171.
---- Queen of D. Manoel, 14, 189.
Lerma, Duque de, 261.
Lima, river, 29.
Lis, river, 69.
Lisbon, 6, 9, 65, 157, 158, 159, 192, 227, 251, 261, 267.
---- Ajuda Palace, 268.
---- Carmo, 98, 99, 206.
---- ---- Museum, 78, 99.
---- Cathedral, 38, 45-47, 49, 50, 52, 54, 61 _n._, 71, 72, 74, 271.
---- Conceicao Velha, 195.
---- Estrella, 268.
---- Madre de Deus, 26, 153, 155, 156.
---- Necessidades, Palace, 268.
---- Sao Bento, 253.
---- Sao Roque, 26, 242, 244, 245, 268.
---- Sao Vicente de Fora, 241, 245, 247, 253, 257, 268.
---- ---- house of Conde de, 236.
---- Santo Antao, 245, 247-248, 249, 250.
---- Sta. Maria do Desterro, 245, 248.
---- Torre do Tombo, 226 _n._
---- Torreao do Paco, 248.
---- University, 248.
---- Affonso, Archbishop of, 14.
Lobo, Diogo, Barao d'Alvito, 131.
Lobos, Ruy de Villa, 75.
Loches, St. Ours, 126.
Lopez, Joao, 254-255.
Lorvao, 20, 237.
Longuim, 202.
Lourenco, Gregorio, 196, 197, 198, 201, 202.
---- Thereza, 76, 80.
Louza, 10 _n._, 219.
Loyos, the, 99, 133, 260.
Ludovici, Frederic, 263, 267.
Lupiana, Spain, 234 _n._
Lusitania, 1, 4.
M
Madrid, 10, 261.
Mafamede, 116, 168.
Mafra, 52, 260, 262, 263, 268.
Malabar Coast, 157.
Malacca, 158.
Manoel, Dom, 11, 12, 14, 20, 24, 26, 54, 56, 71, 83, 87, 95, 97, 104,
105, 108-111, 117-119, 144, 157, 159, 162-169, 171-172, 189, 196, 198,
199, 205, 216, 218, 222, 244.
Manuel, Jorge, 226 _n._
Marao Mts., 1, 29.
Marceana, 217.
Maria I., 119, 121.
---- II., da Gloria, 8, 256, 270.
---- Queen of Dom Manoel, 144, 189.
Massena, General, 180.
Matsys, Quentin, 13.
Mattos, Francisco de, 22, 26, 28, 245 _n._
Mazagao, Morocco, 227, 231.
Meca, Terreiro da, 125, 127.
Mecca, 158.
Medina del Campo, Spain, 183.
---- Sidonia, Duke of, 261.
Mello, family, 219.
---- Rodrigo Affonso de, 133, 134.
Melrose, 59.
Mendes, Hermengildo, Count of Tuy and Porto, 41.
Menendes, Geda, 18.
Menezes, Brites de, 212-215.
---- Duarte de, 57, 101, 102.
---- Fernao Telles de, 213.
---- Dona Leonor Telles de, 74 _n._, 79.
---- Leonor de, daughter of D. Pedro, 100.
---- Pedro de, 100, 101.
Merida, 4.
Mertola, 116.
Miguel, Dom, 8, 182, 256, 270.
---- Prince, son of D. Manoel, 144.
---- bishop of Coimbra, 18, 47, 48.
Minho, river, 1, 64, 109.
Miranda de Douro, 241.
Moissac, 72.
Moncorvo, 220.
Mondego, river, 5, 30, 44, 73, 212, 251, 259.
Montemor-o-Velho, 217.
Montijo, battle of, 262.
Morocco, 5, 21, 55, 88, 100, 121, 143, 171.
Mulay-Ahmed, 243.
Mumadona, Countess of Tuy and Porto, 41.
Munoz, assistant of Olivel of Ghent, 163.
Murillo, 10.
Murca, Diogo de, 252.
Murphy, J., 90 _n._, 177.
N
Nabantia. See Thomar.
Nabao, river, 66, 234.
Napier, Captain Charles, 9.
Nassau, Maurice of, 262.
Navarre, 5, 35 _n._
Nicolas, Master, 164, 184, 196, 198, 199, 200, 215, 216, 218, 221, 222,
223, 238, 239.
---- V., Pope, 161.
Noronha, Bishop Manoel, 237.
Noya, 254 _n._
O
Oliva, Antonio ab, 28.
Olivares, Conde, Duque de, 261.
Olivel of Ghent, 135, 163.
Oporto, 6, 9, 22, 41, 73, 80.
---- Cathedral, 37, 39, 71, 72.
---- Cedofeita, 5, 32.
---- Collegio Novo, 249, 259.
---- Hospital and Factory, 269,
---- Misericordia, 13, 19.
---- Nossa Senhors da Serra do Pilar, 256-8.
---- Quinta ado Freixo, 269.
---- Sao Bento, 253.
---- Sao Francisco, 63.
---- Torre dos Clerigos, 268.
Order of Christ, the. See Thomar.
Orense, in Galicia, 6, 66 _n._, 254.
Ormuz, Portuguese in, 144, 158.
Ouguet. See Huguet.
Ourem, Count of, 100.
Ourique, 7, 51.
Ovidio, Archbishop, 18.
P
Pacheco, Lopo Fernandes, 75.
---- Maria Rodrigues, 75.
Paco de Souza, 38, 40.
Paes, Gualdim, 55, 56, 66, 117, 160, 167.
Palmella, 28, 62.
Pax Julia, the. See Beja.
Payo, Bishop, of Evora, 51 _n._
Pedro I., 62, 76, 77, 79, 88.
---- II., 25.
---- III., 269.
---- son of Joao I., Duke of Coimbra, 88.
---- the Cruel, Constance, daughter of, 80.
Pegas, Sala das, Cintra, 24, 122, 145, 152.
Pekin, Portuguese in, 144.
Pelayo, Don, 5.
Penafiel, Constanca de, 76.
Penha Longa, 236-237.
---- Verde, 236.
Pereira, Nuno Alvares, 11, 98.
Pero Pinheiro, 266.
Persia, 124.
Philip I. and II., 7, 14, 144, 222, 240-244, 261, 263.
---- III. and IV., 261.
Philippe le Bel, 161.
Pimentel, Frei Estevao Vasques, 73.
Pinhal, 80.
Pinheiro, Diogo, Bishop of Funchal, 211, 212.
Pires Marcos, 153, 196-198, 200.
Po, Fernando, 143.
Pombal, Marques de, 8, 122, 151, 195, 243, 267.
Pombeiro, 39, 40, 62.
Ponza, Carlos de. See Captain Napier, 9.
Pontigny, 60.
Portalegre, 219, 260.
Ptolomeu, Master, 18, 48 _n._
Q
Queluz, 269.
Quintal, Ayres do, 166, 168, 169.
R
Rabat, minaret at, 168 _n._, 180.
Raczynski, Count, 11, 13, 160 _n._, 214.
Raimundes Alfonso. See Alfonso VII.
Ranulph, Abbot, 59.
Rates, Sao Pedro de, 3, 34, 36.
Raymond, Count of Toulouse, 6.
Resende, Garcia de, 146, 179, 181, 183.
Restello, Nossa Senhora do, 183.
Rio Mau, Sao Christovao do, 34.
Robbia, della, 26, 176 _n._
Robert, Master, 49, 50.
Roderick, King, 5.
Rodrigues, Alvaro, 162.
---- Joao, 171.
---- Jorge, 255.
---- Justa, 13, 147, 184.
Rolica, battle of, 62 _n._
Romans in Portugal, 2, 3, 4.
Rome, embassy to, 1514, 183.
Rouen, Jean de. See next.
Ruao, Joao de, 192, 202-205, 215, 218, 238, 239.
S
Sabrosa, 3.
Salamanca, 54.
Saldanha, Manoel de, 141.
Sancha, Dona, 64, 70.
Sancho, King of Castile, 6.
Sancho I., 7, 51, 52, 59, 64, 95, 197.
---- II., 64, 67.
Sansovino, Andrea da, 25, 130, 144, 164, 198, 214.
Sao Marcos, 177, 184, 185, 211-216.
---- Theotonio, 196.
---- Thiago d'Antas, 32.
---- Torquato, 18, 33, 94.
Santa Cruz. See Coimbra.
---- Maria da Victoria. See Batalha.
Santarem, 6, 44, 55, 56, 229.
---- Graca, 53, 100, 104, 105, 211, 212.
---- Marvilla, 27, 152, 153, 156, 235.
---- Milagre, 234.
---- Sao Francisco, 57. 65, 67, 78, 83.
---- Sao Joao de Alporao, 56-57, 63, 64, 101.
---- Sta. Clara, 238.
---- Frey Martinho de, 101.
Santiago, 36, 45, 47, 72, 254.
Santos, 227 _n._
Santo Thyrso, 70, 103.
Sash windows, 270.
Savoy, Margaret of, 261.
Schomberg, Marshal, 262.
Sebastiao, Dom, 100, 121, 185, 240-244.
Sem Pavor, Giraldo, 51.
Sempre Noiva, 123, 133, 146.
Sereias, Sala das, Cintra, 24, 122.
Sesnando, Count, 5, 47.
Setubal, 2, 4, 13, 147, 148, 154-156, 184.
Seville, 42, 116, 157, 197.
Silvas, the da, 211-215.
Silva, Ayres Gomes da, 212, 213.
---- Miguel da, Bishop of Vizeu, 236.
---- Diogo da, 213, 217.
---- Joao da, 213, 218.
---- Lourenco da, 213, 216, 217.
Silveira family, 219.
Silves, 63, 67, 68, 116.
Simao, 203.
Sodre, Vicente, 158.
Soeire, 48.
Soult, Marshal, 17, 256.
Soure, 55.
Souza, Diogo de, Archbishop of Braga, 19, 113.
---- Gil de, 213.
Sta. Maria a Velha, 59.
St. James, 3.
St. Vincent, Cape, battle of, 9.
Suevi, 2, 4, 5, 32.
Swan Hall, the, Cintra, 24, 119, 120, 137.
T
Taipas, 3.
Tagus, river, 1, 2, 5, 6, 7, 30, 51, 72 _n._, 129, 144, 261.
Tangier, 243.
Tarragona, 37, 55.
Tavira, 219, 236.
Telles, Maria, 79.
Templars, the, 55, 117, 160, 161.
Tentugal, 212.
Terzi, Filippo, 241, 242, 243, 244-253, 258, 260.
Tetuan, in Morocco, 21.
Theodomir, Suevic King, 5, 32.
Theotonio, Archbishop of Evora, 255.
Theresa, Dona, wife of Henry of Burgundy, 6, 37, 114.
Thomar, 56, 116, 222, 244, 261.
---- Convent of the Order of Christ, 12, 17, 28, 50, 51,
55, 70, 103, 151, 157-170, 194, 206, 224-230, 240, 250, 255, 260.
---- Conceicao, 231-234, 242.
---- Nossa Senhora do Olival, 63, 66, 68, 73, 74 _n._, 211.
---- Sao Joao Baptista, 13, 105.
Tinouco, Joao Nunes, 242, 247.
Toledo, 6, 37, 48, 58, 116.
---- Juan Garcia de, 42, 93, 94.
Torralva, Diogo de, 185, 226, 240-243, 250.
Torre de Murta, 117.
---- de Sao Vicente. See Belem.
Torres, Pero de, 149.
---- Pedro Fernandes de, 241.
---- Vedras, 267.
Toulouse, St. Sernin at, 36, 45, 47.
Trancoso, 33.
Trava, Fernando Peres de, 6, 7.
Traz os Montes, 1, 29, 220.
Trofa, near Agueda, 219, 220.
Troya, 3.
Tua, river, 2.
Turianno, 242.
Tuy, 6, 41.
U
Urraca, Queen of Castile and Leon, 6, 41.
---- Queen of Affonso II., 11, 65.
Uduarte, Philipo, 202.
V
Vagos, Lords. See the da Silvas, 211.
Valladolid, 247.
Vandals, the, 4.
Varziella, 215 _n._
Vasari, 130.
Vasco, Grao, 11, 12, 14, 112, 201.
Vasconcellos, Senhora de, 174.
Vasquez, Master, 91.
Vaz, Leonardo, 185.
Velasquez, 10.
Vianna d'Alemtejo, 135.
---- do Castello, 254.
Vicente, family of goldsmiths, 20.
---- Joao, 99.
Vigo, 9.
Viegas, Godinho, 34.
Vilhegas, Diogo Ortiz de, Bishop of Vizeu, 16, 111.
Vilhelmus, Donus, 27.
Vilhena, Antonia de, 213, 216.
---- Henrique de, 117.
---- Maria de, 213.
Villa do Conde, 29 _n._, 63, 106-108, 109, 136, 141, 142.
---- da Feira, 127, 128.
---- nova de Gaya, 256-258.
Villa Vicosa, 202.
Villar de Frades, 34-36, 99.
Villarinho, 31.
Vimaranes, 41.
Visigoths, 1, 4, 5.
Viterbo, San Martino al Cimino, near 60 _n._
Vizeu, 11, 14, 16, 44, 111, 112, 143, 161, 206, 236, 237.
---- Diogo, Duke of, 143, 161.
Vizella, 31.
Vlimer, Master, 49, 110, 207.
Vouga, river, 29.
W
Walis, palace of, 117.
Wellington, Duke of, 62, 77 _n._, 241, 256.
Windsor, Treaty of, 1386, 80.
Y
Yakub, Emir of Morocco, 51, 56.
Yokes, ox, 29 _n._
Ypres, John of. See D'ipri.
Yusuf, Emir of Morocco, 51.
Z
Zalaca, battle of, 6.
Zezere, river, 234.
FOOTNOTES:
[1] The most noticeable difference in pronunciation, the Castilian
guttural soft G and J, and the lisping of the Z or soft C seems to be of
comparatively modern origin. However different such words as 'chave' and
'llave,' 'filho' and 'hijo,' 'mao' and 'mano' may seem they are really
the same in origin and derived from _clavis_, _filius_, and _manus_.
[2] From the name of this dynasty Moabitin, which means fanatic, is
derived the word Maravedi or Morabitino, long given in the Peninsula to
a coin which was first struck in Morocco.
[3] The last nun in a convent at Evora only died in 1903, which must
have been at least seventy years after she had taken the veil.
[4] A narcissus triandrus with a white perianth and yellow cup is found
near Lamego and at Louza, not far from Coimbra.
[5] See article by C. Justi, 'Die Portugesische Malerei des xvi.
Jahrhunderts,' in vol. ix. of the _Jahrbuch der K. Preussischen
Kunstsammlungen_.
[6] Raczynski, _Les Arts en Portugal_.
[7] These are the 'Annunciation,' the 'Risen Lord appearing to His
Mother,' the 'Ascension,' the 'Assumption,' the 'Good Shepherd,' and
perhaps a 'Pentecost' and a 'Nativity.'
[8] V. Guimaraes, _A Ordem de Christo_, p. 155.
[9] A. Hapt, _Die Baukunst, etc., in Portugal_, vol. ii. p. 36.
[10] These may perhaps be by the so-called Master of Sao Bento, to whom
are attributed a 'Visitation'--in which Chastity, Poverty, and Humility
follow the Virgin--and a 'Presentation,' both now in Lisbon. Some
paintings in Sao Francisco Evora seem to be by the same hand.
[11] Misericordia=the corporation that owns and manages all the
hospitals, asylums, and other charitable institutions in the town. There
is one in almost every town in the country.
[12] She seems almost too old to be Dona Leonor and may be Dona Maria.
[13] His first wife was Dona Isabel, eldest daughter and heiress to the
Catholic Kings. She died in 1498 leaving an infant son Dom Miguel, heir
to Castile and Aragon as well as to Portugal. He died two years later
when Dom Manoel married his first wife's sister, Dona Maria, by whom he
had six sons and two daughters. She died in 1517, and next year he
married her niece Dona Leonor, sister of Charles V. and daughter of Mad
Juana. She had at first been betrothed to his eldest son Dom Joao. All
these marriages were made in the hope of succeeding to the Spanish
throne.
[14] Some authorities doubt the identification of the king and queen.
But there is a distinct likeness between the figures of Dom Manoel and
his queen which adorn the west door of the church at Belem, and the
portrait of the king and queen in this picture.
[15] It has been reproduced by the Arundel Society, but the copyist has
entirely missed the splendid solemnity of St. Peter's face.
[16] See 'Portuguese School of Painting,' by J. C. Robinson, in the
_Fine Arts Quarterly_ of 1866.
[17] Vieira Guimaraes, _A Ordem de Christo_, p. 150.
[18] _Ibid._, p. 157.
[19] Carriage hire is still cheap in Portugal, for in 1904 only 6$000
was paid for a carriage from Thomar to Leiria, a distance of over
thirty-five miles, though the driver and horses had to stay at Leiria
all night and return next day. 6$000 was then barely over twenty
shillings.
[20] It was the gift of Bishop Affonso of Portugal who held the see from
1485 to 1522.
[21] This monstrance was given by Bishop Dom Jorge d'Almeida who died in
1543, having governed the see for sixty-two years. (Fig. 7.)
[22] Presented by Canon Goncalo Annes in 1534.
[23] D. Francisco Simonet, professor of Arabic at Granada. Note in _Paco
de Cintra_, p. 206.
[24] See Miss I. Savory, _In the Tail of the Peacock_.
[25] A common pattern found at Bacalhoa, near Setubal, in the Museum at
Oporto, and in the Corporation Galleries of Glasgow, where it is said to
have come from Valencia in Spain.
[26] Joaquim Rasteiro, _Palacio e Quinta de Bacalhoa em Azeitao_.
Lisbon, 1895.
[27] Columns with corbel capitals support a house on the right. Such
capitals were common in Spain, so it is just possible that these tiles
may have been made in Spain.
[28] Antonio ab Oliva=Antonio de Oliveira Bernardes, who also painted
the tiles in Sao Pedro de Rates.
[29] _E.g._ in the church of the Misericordia Vianna do Castello, the
cloister at Oporto, the Graca Santarem, Sta. Cruz Coimbra, the Se,
Lisbon, and in many other places.
[30] Paco de Cintra, _Cond. de Sabugosa_. Lisbon, 1903.
[31] These yokes are about 4 or 5 feet long by 18 inches or 2 feet
broad, are made of walnut, and covered with the most intricate pierced
patterns. Each parish or district, though no two are ever exactly alike,
has its own design. The most elaborate, which are also often painted
bright red, green, and yellow are found south of the Douro near Espinho.
Further north at Villa do Conde they are much less elaborate, the
piercings being fewer and larger. Nor do they extend far up the Douro as
in the wine country in Tras-os-Montes the oxen, darker and with shorter
horns, pull not from the shoulder but from the forehead, to which are
fastened large black leather cushions trimmed with red wool.
[32] Originally there was a bell-gable above the narthex door, since
replaced by a low square tower resting on the north-west corner of the
narthex and capped by a plastered spire.
[33]
Theodomir rex gloriosus v. erex. & contrux. hoc. monast. can. B.
Aug. ad. Gl. D. et V.M.G.D. & B. Martini et fecit ita so: lemnit:
sacrari ab Lucrec. ep. Brac. et alliis sub. J. III. P. M. Prid.
Idus. Nov. an. D. DLIX. Post id. rex in hac eccl. ab. eod. ep.
palam bapt. et fil. Ariamir cum magnat. suis. omnes conversi ad
fid. ob. v. reg. & mirab. in fil. ex sacr. reliq. B.M. a Galiis eo.
reg. postul translatis & hic asservatis Kal. Jan. An. D. DLX.
[34] From M. Bernardes, _Tratados Varios_, vol. ii. p. 4. The same story
is told of the monastery of San Salvador de Leyre in Navarre, whose
abbot, Virila, wondering how it could be possible to listen to the
heavenly choirs for ever without weariness, sat down to rest by a spring
which may still be seen, and there listened, enchanted, to the singing
of a bird for three hundred years.
[35] _E.g._ the west door of Ste. Croix, Bordeaux, though it is of
course very much more elaborate.
[36] Namely, to give back some Galician towns which had been captured.
[37] Bayona is one of the most curious and unusual churches in the north
of Spain. Unfortunately, during a restoration made a few years ago a
plaster groined vault was added hiding the old wooden roof.
[38]
The tomb is inscribed: Hic requiescit Fys:
Dei: Egas: Monis: Vir:
Inclitus: era: millesima:
centesima: LXXXII
_i.e._ Era of Caesar 1182, A.D. 1144.
[39] He died soon after at Medinaceli, and a Christian contemporary
writer records the fact saying: 'This day died Al-Mansor. He desecrated
Santiago, and destroyed Pampluna, Leon and Barcelona. He was buried in
Hell.'
[40] Another cloister-like building of even earlier date is to be found
behind the fourteenth-century church of Leca de Balio: it was built
probably after the decayed church had been granted to the Knights of St.
John of Jerusalem. (Fig. 17.)
[41] A careful restoration is now being carried out under the direction
of Senhor Fuschini.
[42] The inscription is mutilated at both ends and seems to read,
'Ahmed-ben-Ishmael built it strongly by order of ...'
[43] It is a pity that the difference in date makes it impossible to
identify this Bernardo with the Bernardo who built Santiago. For the
work Dom Miguel gave 500 morabitinos, besides a yoke of oxen worth 12,
also silver altar fronts made by Master Ptolomeu. Besides the money
Bernardo received a suit of clothes worth 3 morabitinos and food at the
episcopal table, while Soeiro his successor got a suit of clothes, a
quintal of wine, and a mora of bread. The bishop also gave a great deal
of church plate showing that the cathedral was practically finished
before his death.
[44] Compare the doorlike window of Nossa Senhora da Oliveira at
Guimaraes.
[45] The small church of Sao Salvador has also an old door, plainer and
smaller than Sao Thiago.
[46] The five small shields with the Wounds of Christ on the Portuguese
coat are supposed to have been adopted because on the eve of this battle
Christ crucified appeared to Affonso and promised him victory, and
because five kings were defeated.
[47] Andre de Rezende, a fifteenth-century antiquary, says, quoting from
an old 'book of anniversaries': 'Each year an anniversary is held in
memory of Bishop D. Payo on St. Mark's Day, that is May 21st, on which
day he laid the first stone for the foundation of this cathedral, on the
spot where now is St. Mark's Altar, and he lies behind the said place
and altar in the Chapel of St. John. This church was founded Era 1224,'
_i.e._ 1186 A.D. D. Payo became bishop in 1181. Another stone in the
chancel records the death, in era 1321, _i.e._ 1283 A.D., of Bishop D.
Durando, 'who built and enriched this cathedral with his alms,' but
probably he only made some additions, perhaps the central lantern.
[48] It was built 1718-1746 by Ludovici or Ludwig the architect of Mafra
and cost 160:000$000 or about L30,000.
[49] The whole inscription, the first part occurring also on a stone in
the castle, runs thus:--
E (i.e. Era) MC : L[~X]. VIII. regnant : Afonso : illustrisimo rege
Portugalis : magister : galdinus : Portugalensium : Militum Templi : cum
fratribus suis Primo : die : Marcii : cepit edificari : hoc : castellu :
n[=m]e Thomar : q[=o]d : prefatus rex obtulit : Deo : et militibus :
Templi : E. M. CC. XX. VIII : III. mens. : Julii : venit rex de maroqis
ducens : CCCC milia equit[=u] : et quingenta milia : pedit[=u]m : et
obsedit castrum istud : per sex Dies : et delevit : quantum extra :
murum invenit : castell[=u] : et prefatus : magister : c[=u] : fratribus
suis liberavit Deus : de manibus : suis Idem : rex : remeavit : in
patri[=a] : su[=a] : cu : innumerabili : detrimento : homin[=u] et
bestiarum.
[50] Cf. Templar church at Segovia, Old Castile, where, however, the
interior octagon is nearly solid with very small openings, and a vault
over the lower story; it has also three eastern apses.
[51] There is a corbel table like it but more elaborate at Vezelay in
Burgundy.
[52] _E.g._ in S. Martino al Cimino near Viterbo.
[53] So says Murray. Vilhena Barbosa says 1676. 1770 seems the more
probable.
[54] Indeed to the end the native builders have been very chary of
building churches with a high-groined vault and a well-developed
clerestory. The nave of Batalha and of the cathedral of Guarda seem to
be almost the only examples which have survived, for Lisbon choir was
destroyed by the great earthquake of 1755, as was also the church of the
Carmo in the same city, which perhaps shows that they were right in
rejecting such a method of construction in a country so liable to be
shaken.
[55] Cf. similar corbel capitals in the nave of the cathedral of Orense
in Galicia.
[56] Before the Black Death, which reduced the number to eight, there
are said to have sometimes been as many as 999 monks!
[57] It was a monk of Alcobaca who came to General Wellesley on the
night of 16th August 1808, and told him that if he wished to catch the
French he must be quick as they meant to retire early in the morning,
thus enabling him to win the battle of Rolica, the first fight of the
Peninsular War.
[58] Cf. the clerestory windows of Burgos Cathedral, or those at
Dunblane, where as at Guimaraes the circle merely rests on the lights
below without being properly united with them.
[59] From the north-east corner of the narthex a door leads to the
cloisters, which have a row of coupled shafts and small pointed arches.
From the east walk a good doorway of Dom Manoel's time led into the
chapter-house, now the barrack kitchen, the smoke from which has
entirely blackened alike the doorway and the cloister near.
[60] Compare the horseshoe moulding on the south door of the cathedral
of Orense, Galicia, begun 1120, where, however, each horseshoe is
separated from the next by a deep groove.
[61] The town having much decayed owing to fevers and to the gradual
shallowing of the river the see was transferred to Faro in 1579. The
cathedral there, sacked by Essex in 1596, and shattered by the
earthquake of 1755, has little left of its original work except the
stump of a west tower standing on a porch open on three sides with plain
pointed arches, and leading to the church on the fourth by a door only
remarkable for the dog-tooth of its hood-mould.
[62] The towers stand quite separate from the walls and are united to
them by wide round arches.
[63] In the dilapidated courtyard of the castle there is one very
picturesque window of Dom Manoel's time (his father the duke of Beja is
buried in the church of the Conceicao in the town).
[64] An inscription says:--
'Era 1362 [i.e. A.D. 1324] anos foi
esta tore co (mecad) a (aos) 8
dias demaio. e mandou a faze (r
o muito) nobre Dom Diniz
rei de P...'
[65] Just outside the castle there is a good romanesque door belonging
to a now desecrated church.
[66] Some of the distinctive features of Norman such as cushion capitals
seem to be unknown in Normandy and not to be found any nearer than
Lombardy.
[67] Sub Era MCCCXLVIII. idus Aprilis, Dnus Nuni Abbas monasterij de
Alcobatie posuit primam lapidem in fundamento Claustri ejusdem loci.
presente Dominico Dominici magistro operis dicti Claustri. Era 1348 =
A.D. 1310.
[68] It is interesting to notice that the master builder was called
Domingo Domingues, who, if Domingues was already a proper name and not
still merely a patronymic, may have been the ancestor of Affonso
Domingues who built Batalha some eighty years later and died 1402.
[69] In this cloister are kept in a cage some unhappy ravens in memory
of their ancestors having guided the boat which miraculously brought St.
Vincent's body to the Tagus.
[70] Cf. the aisle windows of Sta. Maria dos Olivaes at Thomar.
[71] It was at Leca that Dom Fernando in 1372 announced his marriage
with Dona Leonor Telles de Menezes, the wife of Joao Lourenco da Cunha,
whom he had seen at his sister's wedding, and whom he married though he
was himself betrothed to a daughter of the Castilian king, and though
Dona Leonor's husband was still alive: a marriage which nearly ruined
Portugal, and caused the extinction of the legitimate branch of the
house of Burgundy.
[72] Opening off the north-west corner of the cathedral is an apsidal
chapel of about the same period, entered by a fine pointed door, one of
whose mouldings is enriched by an early-looking chevron, but whose real
date is shown by the leaf-carving of its capitals.
[73] A note in Sir H. Maxwell's _Life of Wellington_, vol. i. p. 215,
says of Alcobaca: 'They had burned what they could and destroyed the
remainder with an immense deal of trouble. The embalmed kings and queens
were taken out of their tombs, and I saw them lying in as great
preservation as the day they were interred. The fine tesselated
pavement, from the entrance to the Altar, was picked up, the facings of
the stone pillars were destroyed nearly to the top, scaffolding having
been erected for that purpose. An orderly book found near the place
showed that regular parties had been ordered for the purpose'
(Tomkinson, 77).
[74] There is in the Carmo Museum at Lisbon a fine tomb to Dom Fernando,
Dom Pedro's unfortunate successor. It was brought from Sao Francisco at
Santarem, but is very much less elaborate, having three panels on each
side filled with variously shaped cuspings, enclosing shields, all
beautifully wrought.
[75] Another trophy is now at Alcobaca in the shape of a huge copper
caldron some four feet in diameter.
[76] This site at Pinhal was bought from one Egas Coelho.
[77] Though a good deal larger than most Portuguese churches, except of
course Alcobaca, the church is not really very large. Its total length
is about 265 feet with a transept of about 109 feet long. The central
aisle is about 25 feet wide by 106 high--an unusual proportion anywhere.
[78] Albrecht Haupt, _Die Baukunst der Renaissance in Portugal_, says
that 'Der Plan durchaus englisch ist (Lang-und Querschiff fast ganz
identisch mit dener der Kathedral zu Canterbury, nur thurmlos).'
[79] This spire has been rebuilt since the earthquake of 1755, and so
may be quite different from that originally intended.
[80] In his book on Batalha, Murphy, who stayed in the abbey for some
months towards the end of the eighteenth century, gives an engraving of
an open-work spire on this chapel, saying it had been destroyed in 1755.
[81] Huguet witnessed a document dated December 7, 1402, concerning a
piece of land belonging to Margarida Annes, servant to Affonso
Domingues, master of the works, and his name also occurs in a document
of 1450 as having had a house granted to him by Dom Duarte, but he must
have been dead some time before that as his successor as master of the
works, Master Vasquez, was already dead before 1448. Probably Huguet
died about 1440.
[82] Caspar Estaco, writing in the sixteenth century, says that this
triptych was made of the silver against which King Joao weighed himself,
but the story of its capture at Aljubarrota seems the older tradition.
[83] These capitals have the distinctive Manoelino feature of the
moulding just under the eight-sided abacus, being twisted like a rope or
like two interlacing branches.
[84] The church was about 236 feet long with a transept of over 100
feet, which is about the length of the Batalha transept.
[85] She also sent the beautiful bronze tomb in which her eldest brother
Affonso, who died young, lies in the cathedral, Braga. The bronze effigy
lies on the top of an altar-tomb under a canopy upheld by two slender
bronze shafts. Unfortunately it is much damaged and stands in so dark a
corner that it can scarcely be seen.
[86] In one transept there is a very large blue tile picture.
[87] The Aleo is still at Ceuta. In the cathedral Our Lady of Africa
holds it in her hand, and it is given to each new governor on his
arrival as a symbol of office.
[88] The inscription is:--
Memoria de D. Duarte de Menezes
Terceiro conde de Viana, Tronco
dos condes de Tarouca. Primeiro
Capitao de Alcacer-Seguer, em Africa,
que com quinhentos soldados defendeu
esta praca contra cemmil
Mouros, com os quaes teve
muitos encontros, ficando n'elles
com grande honra e gloria. Morreu na
serra de Bonacofu per salvar a
vida do seu rei D. Affonso o Quinto.
[89] When the tomb was moved from Sao Francisco, only one tooth, not a
finger, was found inside.
[90] Besides the church there is in Caminha a street in which most of
the houses have charming doors and windows of about the same date as the
church.
[91] 1524 seems too early by some forty years.
[92] The rest of the west front was rebuilt and the inside altered by
Archbishop Dom Jose de Braganza, a son of Dom Pedro II., about two
hundred years ago.
[93] A chapel was added at the back, and at a higher level some time
during the seventeenth century to cover in one of the statues, that of
St. Anthony of Padua, who was then becoming very popular.
[94] This winding stair was built by Dom Manoel: cf. some stairs at
Thomar.
[95] A 'pelourinho' is a market cross.
[96] The kitchens in the houses at Marrakesh and elsewhere in Morocco
have somewhat similar chimneys. See B. Meakin, _The Land of the Moors_.
[97] 'Esta fortaleza se comecou a xiij dagosto de mil cccc.l. P[N. of T.
horizonal line through it] iiij por madado del Rey do Joam o segundo
nosso sor e acabouse em tpo del Rey dom Manoel o primeiro nosso Snor
fela per seus madados dom Diogo Lobo baram dalvito.'
[98] The house of the duke of Cadaval called 'Agua de Peixes,' not very
far off, has several windows in the same Moorish style.
[99] Vilhena Barbosa, _Monumentos de Portugal_, p. 324.
[100] Though the grammar seems a little doubtful this seems to mean
Since these by service were
And loyal efforts gained,
By these and others like to them
They ought to be maintained.
[101] One blank space in one of the corners is pointed out as having
contained the arms of the Duque d'Aveiro beheaded for conspiracy in
1758. In reality it was painted with the arms of the Coelhos, but the
old boarding fell out and has never been replaced.
[102] Affonso de Albuquerque took Ormuz in 1509 and Goa next year.
[103] Sumatra was visited in 1509.
[104] Fernao Peres de Andrade established himself at Canton in 1517 and
reached Pekin in 1521.
[105] Compare the elaborate outlines of some Arab arches at the Alhambra
or in Morocco.
[106] Some have supposed that Boutaca was a foreigner, but there is a
place called Boutaca near Batalha, so he probably came from there.
[107] Once the Madre de Deus was adorned with several della Robbia
placques. They are now all gone.
[108] Danver's _Portuguese in India_, vol. i.
[109] See in Oliveira Martims' _Historia de Portugal_, vol. II. ch. i.,
the account of the Embassy sent to Pope Leo IX. by Dom Manoel in 1514.
No such procession had been seen since the days of the Roman Empire.
There were besides endless wealth, leopards from India, also an elephant
which, on reaching the Castle of S. Angelo, filled its trunk with
scented water and 'asperged' first the Pope and then the people. These
with a horse from Ormuz represented the East. Unfortunately the
representative of Africa, a rhinoceros, died on the way.
[110] Danver's _Portuguese in India_, vol. i.
[111] Unfortunately Fernandes was one of the commonest of names. In his
list of Portuguese artists, Count Raczynski mentions an enormous number.
[112] In the year 1512 Olivel was paid 25$000. He had previously
received 12$000 a month. He died soon after and his widow undertook to
finish his work with the help of his assistant Munoz.
[113] See the drawing in _A Ordem de Christo_ by Vieira Guimaraes.
[114] The last two figures look like 15 but the first two are scarcely
legible; it may not be a date at all.
[115] All the statues are rather Northern in appearance, not unlike
those on the royal tombs in Santa Cruz, Coimbra, and may be the work of
the two Flemings mentioned among those employed at Thomar, Antonio and
Gabriel.
[116] The door--notwithstanding the supposed date, 1515--was probably
finished by Joao after 1523.
[117] Cf. the carving on the jambs of the Allah-ud-din gate at Delhi.
[118] Such heads of many curves may have been derived from such
elaborate Moorish arches as may be seen in the Alhambra, or, for
example, in the Hasan tower at Rabat in Morocco, and it is worth
noticing that there were men with Moorish names among the workmen at
Thomar--Omar, Mafamede, Bugimaa, and Bebedim.
[119] Esp(h)era=_sphere_; Espera=_hope_, present imperative.
[120] The inscription says: 'Aqui jaz Matheus Fernandes mestre que foi
destas obras, e sua mulher Izabel Guilherme e levou-o nosso Senhor a dez
dias de Abril de 1515. Ella levou-a a....'
[121] Fig. 57.
[122] _As Capellas Imperfeitas e a lenda das devisas Gregas._ Por
Caroline Michaelis de Vasconcellos. Porto, 1905.
[123] The frieze is now filled up and plastered, but not long ago was
empty and recessed as if prepared for letting in reliefs. Can these have
been of terra cotta of the della Robbia school? Dom Manoel imported many
which are now all gone but one in the Museum at Lisbon. There are also
some della Robbia medallions at the Quinta de Bacalhoa at Azeitao near
Setubal.
[124] J. Murphy, _History of the Royal Convent of Batalha_. London,
1792.
[125] One of the first was probably the chapel dos Reys Magos at Sao
Marcos near Coimbra.
[126] A conto = 1.000$000.
[127] It is no use telling a tramway conductor to stop near the Torre de
Sao Vicente. He has never heard of it, but if one says 'Fabrica de Gas'
the car will stop at the right place.
[128] Similar roofs cap the larger angle turrets in the house of the
Quinta de Bacalhoa near Setubal, built by Dona Brites, mother of Dom
Manoel, about 1490, and rebuilt or altered by the younger Albuquerque
after 1528 when he bought the Quinta.
[129] Raczynski says 1517, Haupt 1522.
[130] According to Raczynski, Joao de Castilho in 1517 undertook to
carry on the work for 140$000 per month, at the rate of $50 per day per
man. 140$000=now about L31.
[131] Nicolas was the first of the French renaissance artists to come to
Portugal.
[132] _E.g._ on the Hotel Bourgtheroulde, Rouen.
[133] Cf. the top of a turret at St. Wulfram, Abbeville.
[134] Haupt.
[135] The university was first accommodated in Sta. Cruz, till Dom Joao
gave up the palace where it still is. It was after the return of the
university to Coimbra that George Buchanan was for a time professor. He
got into difficulties with the Inquisition and had to leave.
[136] Nicolas the Frenchman is first mentioned in 1517 as working at
Belem. He therefore was probably the first to introduce the renaissance
into Portugal, for Sansovino had no lasting influence.
[137] 'To give room and licence to Dioguo de Castylho, master of the
work of my palace at Coimbra, to ride on a mule and a nag seeing that he
has no horse, and notwithstanding my decrees to the contrary.'--Sept.
18, 1526.
[138] _Vilhena Barbosa Monumentes de Portugal_, p. 411.
[139] Other men from Rouen are also mentioned, Jeronymo and Simao.
[140] The stone used at Batalha and at Alcobaca is of similar fineness,
but seems better able to stand exposure, as the front of Santa Cruz at
Coimbra is much more decayed than are any parts of the buildings at
either Batalha or Alcobaca. The stone resembles Caen stone, but is even
finer.
[141] Joao de Ruao also made some bookcases for the monastery library.
[142] 'Aqui jas o muito honrado Pero Rodrigues Porto Carreiro, ayo que
foy do Conde D. Henrique, Cavalleiro da Ordem de San Tiago, e o muyto
honrado Gonzalo Gil Barbosa seu genro, Cavalleiro da Ordem de X^to, e
assim o muito honrado seu filho Francisco Barbosa: os quaes forao
trasladados a esta sepultura no anno de 1532.'--Fr. _Historia de
Santarem edificada_. By Ignacio da Piedade e Vasconcellos. Lisboa
Occidental, MDCCXXXX.
[143] The date 1522 is found on a tablet on Ayres' tomb, so the three
must have been worked while the chancel was being built.
[144] _Les Arts en Portugal:_ letters to the Berlin Academy of Arts.
Paris, 1846.
[145] _Sao Marcos:_ E. Biel. Porto, in _A arte e a natureza em
Portugal:_ text by J. de Vasconcellos.
[146] There is also a fine reredos of somewhat later date in the church
of Varziella near Cantanhede not far off: but it belongs rather to the
school of the chapel dos Reis Magos; there is another in the Matriz of
Cantanhede itself.
[147] Johannis III. Emanuelis filius, Ferdinandi nep. Eduardi pronep.
Johannis I. abnep. Portugal. et Alg. rex. Affric. Aethiop. arabic.
persic. Indi. ob felicem partum Catherinae reginae conjugis
incomparabilis suscepto Emanuele filio principi, aram cum signis pos.
dedicavitque anno MDXXXII. Divae Mariae Virgini et Matri sac.
[148] The only other object of any interest in the Sao Marcos is a small
early renaissance pulpit on the north side of the nave, not unlike that
at Caminha.
[149] During the French invasion much church plate was hidden on the top
of capitals and so escaped discovery.
[150] Joao then bought a house in the Rua de Corredoura for 80$000 or
nearly L18.--Vieira Guimaraes, _A Ordem de Christo_, p. 167.
[151] There is preserved in the Torre do Tombo at Lisbon a long account
of the trial of a 'new Christian' of Thomar, Jorge Manuel, begun on July
15, 1543, in the office of the Holy Inquisition within the convent of
Thomar.--Vieira Guimaraes, p. 179.
[152] From book 34 of Joao III.'s Chancery a 'quitaca' or discharge
given to Joao de Castilho for all the work done for Dom Joao or for his
father, viz.--'In Monastery of Belem; in palace by the sea--swallowed up
by the earthquake in 1755--balconies in hall, stair, chapel, and rooms
of Queen Catherine, chapel of monastery of Sao Francisco in Lisbon,
foundation of Arsenal Chapel; a balcony at Santos, and divers other
lesser works. Then a door, window, well balustrade, garden repairs; work
in pest house; stone buildings at the arsenal for a dry dock for the
Indian ships; the work he has executed at Thomar, as well as the work he
has done at Alcobaca and Batalha; besides he made a bastion at Mazagao
so strong,' etc.--Raczynski's _Les Artistes Portugais_.
[153] Vieira Guimaraes, _A Ordem de Christo_, pp. 184, 185.
[154] Foi erecta esta cap. No A.D. 1572 sed prof. E. 1810 foi restaur E.
1848 por L. L. d'Abreu Monis. Serrao, E. Po. D Roure, Pietra
concra. Muitas Pessoas ds. cid^{ec}.
[155] Ferguson (_History of Modern Architecture_, vol. ii. p. 287) says
that some of the cloisters at Goa reminded him of Lupiana, so no doubt
they are not unlike those here mentioned.
[156] An inscription over a door outside says:
DNS. EMANVEL
NORONHA EPVS
LAMACEN. 1557.
[157] One chapel, that of Sao Martin, has an iron screen like a poor
Spanish _reja_.
[158] It has been pulled down quite lately. Lorvao, in a beautiful
valley some fifteen miles from Coimbra, was a very famous nunnery. The
church was rebuilt in the eighteenth century, has a dome, a nuns' choir
to the west full of stalls, but in style, except the ruined cloister,
which was older, all is very rococo.
[159] This reredos is in the chapel on the south of the Capella Mor.
[160] This aqueduct begun by Terzi in 1593 was finished in 1613 by Pedro
Fernandes de Torres, who also designed the fountain in the centre of the
cloister.
[161] It was here that Wellington was slung across the river in a basket
on his way to confer with the Portuguese general during the advance on
Salamanca.
[162] Terzi was taken prisoner at Alcacer-Quebir in 1578 and ransomed by
King Henry, who made him court architect, a position he held till his
death in 1598.
[163] Some of the most elaborate dated 1584 are by Francisco de Mattos.
[164] It was handed over to the cathedral chapter on the expulsion of
the Jesuits in 1772.
[165] Sao Bento is now used as a store for drain-pipes.
[166] The Matriz at Vianna has a fifteenth-century pointed door, with
half figures on the voussoirs arranged as are the four-and-twenty elders
on the great door at Santiago, a curious arrangement found also at
Orense and at Noya.
[167] There was only one other house of this order in Portugal, at
Laveiras.
[168] Not of course the famous son of Charles V., but a son of Philip
IV.
[169] In that year from June to October 45,000 men are inscribed as
working on the building, and 1266 oxen were bought to haul stones!
[170] The area of the Escorial, excluding the many patios and cloisters,
is over 300,000 square feet; that of Mafra, also excluding all open
spaces, is nearly 290,000.
[171] Compare also the front of the Misericordia in Oporto.
End of Project Gutenberg's Portuguese Architecture, by Walter Crum Watson