Chapter 39
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 Guimarães, 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 João, eighth duke of Braganza and direct descendant of Affonso, a bastard son of Dom João 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 João IV. at Villa Viçosa, 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 Cataluña, and so was unable to send any large force to crush Dom João. 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 Sé at Evora are the only exceptions.
In the early years of that century King João 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 João 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. João 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.
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,
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 João 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 £27,000.
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 João 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 José, 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 São Roque and São 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 Praça 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 Coração 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: Guimarães, Quinta.]
Somewhat similar, but unfinished, and enriched with niches and statues, is a Quinta near the station at Guimarães. 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 Alcobaça is being, saved from ruin. The Sé 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 mediæval skill, as well as some of the mediæval 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.
Simões, 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 Bacalhôa em Azeitão_. Lisboa, 1895.
Joaquim de Vasconcellos: 'Batalha' & 'São 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 Paço de Cintra_. Lisboa, 1903.
Augusto Fuschini: _A Architectura Religiosa da Edade Média_. Lisboa, 1904.
José 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 João I., 261. ---- son of João 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.
Alcobaça, 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.
Ançã, 204.
Andalucia, 4.
Andrade, Fernão Peres de, 144.
Angra do Heroismo, in the Azores, 260.
Annes, Canon Gonçalo, 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.
Azeitão, 255.
Azila, in Morocco, 134, 243, 244.
Azurara, 63, 107, 108, 136.
B
Bacalhôa, 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.
Bayão, Gonçalo, 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 São Vicente, 146, 179, 181-183, 194.
Bernardo (of Santiago), 36, 48 _n._ ---- Master, 48.
Bernard, St., of Clairvaux, 59.
Boelhe, 32.
Bonacofú, 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 José de, 114 _n._ ---- Catherine, Duchess of, 244, 261. ---- Duke of, 143. ---- Dukes of, 127. ---- João, Duke of, 261.
Brandão, Francisco, 11.
Brazil, 8, 66, 144, 158, 160, 222, 243, 244, 261, 262.
Brazil, Pedro of, 8.
Brazões, 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.
Câmara, Luis Gonçalves de, 243.
Caminha, 27, 109, 110, 136, 137, 218, 220.
Cantabrian Mountains, 1, 5.
Cantanhede, 215 _n._
Canterbury Cathedral, 82.
Canton, Portuguese at, 144.
Cão, 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. ---- João 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.
Cataluña, 5, 262.
Catharina, queen of João III., 240, 243.
Cavado, river, 29.
Cellas, 70.
Cêras, 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 João de, 114. ---- Carmo, 252. ---- County of, 6. ---- Episcopal palace, 250. ---- Graça, 252. ---- Misericordia, 140, 250. ---- Pedro, Duke of, 88, 101. ---- São Bento, 252. ---- São Domingos, 251. ---- São Thomaz, 237. ---- Sta. Clara, 72. New, 259. ---- Sta. Cruz, 12, 13, 20, 151, 153, 160, 188, 192, 196-200, 214, 215, 234, 258. ---- Sé Nova, 248, 253, 259. ---- Sé 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, João Lourenço da, 74 _n._ ---- Tristão 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, João, 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.
Dürer, Albert, 11.
E
Eannes, Affonso, 98. ---- Diogo, 109. ---- Gonçalo, 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 Brazões.
Espinheiro, 12.
Essex, Earl of, 68.
Estaço, 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. ---- Fernão d', 92. ---- Graça, 242. ---- Henrique, Archbishop of, 14, 20. ---- Monte, 9. ---- Morgado de Cordovis, 132. ---- Paços Reaes, 132. ---- Resende, House of, 146, 148, 179. ---- São Braz, 135. ---- São Domingos, 219. ---- São Francisco, 134, 163. ---- Sé, 17, 19, 30, 51-55, 62, 64, 71, 72, 89, 192, 260, 262, 267. ---- Temple, 4. ---- University, 243.
Eyck, J. van, 11.
F
Familicão, 32.
Faro, 68 _n._, 237.
Felix, the goldsmith, 18.
Fenacho, João, 154.
Fernandes, Antonius, 200. ---- Diogo, 159. ---- Lourenço, 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 João I., 88. ---- ---- Dom Duarte, 161.
Figueira de Foz, 212.
Figueredo, Christovão 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, São, 18.
Giustiniani, San Lorenzo, 28, 133.
Gôa (India), 20, 144, 158, 200, 234 _n._
Goes, 219. ---- Damião de, 11, 145.
Gollegã, 151, 152, 153.
Gomes, Gonçalo, 149.
Gonsalves, André, 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.
Guimarães, 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 João IV., 261.
H
Haro, Dona Mencia de, 67.
Hastings, Gilbert of, 45, 55.
Haupt, Albrecht, 82, 85, 130, 159, 176, 177, 183.
Henares, Alcalá 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.
João 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 João I., 88.
John, Don, of Austria, son of Philip of Spain, 262.
John XXII., Pope, 161.
José, Dom, 267.
Junot, Marshal, 8.
Justi, 12, 13.
L
Lagos, São Sebastião at, 219.
Lagrimas, Quinta das, 76.
Lamego, 4, 9 _n._, 44, 111, 237.
Lancaster, Philippa of, 81, 84, 88, 89, 100, 122.
Leça 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 João 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. ---- Conceição Velha, 195. ---- Estrella, 268. ---- Madre de Deus, 26, 153, 155, 156. ---- Necessidades, Palace, 268. ---- São Bento, 253. ---- São Roque, 26, 242, 244, 245, 268. ---- São Vicente de Fora, 241, 245, 247, 253, 257, 268. ---- ---- house of Conde de, 236. ---- Santo Antão, 245, 247-248, 249, 250. ---- Sta. Maria do Desterro, 245, 248. ---- Torre do Tombo, 226 _n._ ---- Torreão do Paço, 248. ---- University, 248. ---- Affonso, Archbishop of, 14.
Lobo, Diogo, Barão d'Alvito, 131.
Lobos, Ruy de Villa, 75.
Loches, St. Ours, 126.
Lopez, João, 254-255.
Lorvão, 20, 237.
Longuim, 202.
Lourenço, Gregorio, 196, 197, 198, 201, 202. ---- Thereza, 76, 80.
Louzã, 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._
Marão 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._
Mazagão, 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. ---- Fernão 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.
Muñoz, assistant of Olivel of Ghent, 163.
Murillo, 10.
Murça, Diogo de, 252.
Murphy, J., 90 _n._, 177.
N
Nabantia. See Thomar.
Nabão, 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. ---- São Bento, 253. ---- São 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.
Paço 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 João 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, Constança 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 Estevão 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, São Pedro de, 3, 34, 36.
Raymond, Count of Toulouse, 6.
Resende, Garcia de, 146, 179, 181, 183.
Restello, Nossa Senhora do, 183.
Rio Mau, São Christovão do, 34.
Robbia, della, 26, 176 _n._
Robert, Master, 49, 50.
Roderick, King, 5.
Rodrigues, Alvaro, 162. ---- João, 171. ---- Jorge, 255. ---- Justa, 13, 147, 184.
Roliça, battle of, 62 _n._
Romans in Portugal, 2, 3, 4.
Rome, embassy to, 1514, 183.
Rouen, Jean de. See next.
Ruão, João 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.
São 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. ---- Graça, 53, 100, 104, 105, 211, 212. ---- Marvilla, 27, 152, 153, 156, 235. ---- Milagre, 234. ---- São Francisco, 57. 65, 67, 78, 83. ---- São João de Alporão, 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.
Sebastião, 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. ---- João da, 213, 218. ---- Lourenço da, 213, 216, 217.
Silveira family, 219.
Silves, 63, 67, 68, 116.
Simão, 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. ---- Conceição, 231-234, 242. ---- Nossa Senhora do Olival, 63, 66, 68, 73, 74 _n._, 211. ---- São João Baptista, 13, 105.
Tinouco, João 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 São 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, Grão, 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. ---- João, 99.
Vigo, 9.
Viegas, Godinho, 34.
Vilhegas, Diogo Ortiz de, Bishop of Vizeu, 16, 111.
Vilhelmus, Doñus, 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 Viçosa, 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,' 'mão' 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 Louzã, 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. Guimarães, _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 São 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 São 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 João. 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 Guimarães, _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 Gonçalo Annes in 1534.
[23] D. Francisco Simonet, professor of Arabic at Granada. Note in _Paço de Cintra_, p. 206.
[24] See Miss I. Savory, _In the Tail of the Peacock_.
[25] A common pattern found at Bacalhôa, 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 Bacalhôa em Azeitão_. 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 São Pedro de Rates.
[29] _E.g._ in the church of the Misericordia Vianna do Castello, the cloister at Oporto, the Graça Santarem, Sta. Cruz Coimbra, the Sé, Lisbon, and in many other places.
[30] Paço 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 Leça 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 Guimarães.
[45] The small church of São Salvador has also an old door, plainer and smaller than São 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 £30,000.
[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 Alcobaça 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 Roliça, the first fight of the Peninsular War.
[58] Cf. the clerestory windows of Burgos Cathedral, or those at Dunblane, where as at Guimarães 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 Conceição in the town).
[64] An inscription says:--
'Era 1362 [i.e. A.D. 1324] anos foi esta tore co (meçad) a (aos) 8 dias demaio. é 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 Leça that Dom Fernando in 1372 announced his marriage with Dona Leonor Telles de Menezes, the wife of João Lourenço 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 Alcobaça: '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 São 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 Alcobaça 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 Alcobaça, 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 Estaço, writing in the sixteenth century, says that this triptych was made of the silver against which King João 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 Capitão de Alcacer-Seguer, em Africa, que com quinhentos soldados defendeu esta praça contra cemmil Mouros, com os quaes teve muitos encontros, ficando n'elles com grande honra e gloria. Morreu na serra de Bonacofú per salvar a vida do seu rei D. Affonso o Quinto.
[89] When the tomb was moved from São 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 José 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 começou a xiij dagosto de mil cccc.l. P[N. of T. horizonal line through it] iiij por mãdado del Rey dõ Joam o segundo nosso sõr e acabouse em tpõ del Rey dom Manoel o primeiro nosso Sñor fela per seus mãdados 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 Gôa next year.
[103] Sumatra was visited in 1509.
[104] Fernão 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 Muñoz.
[113] See the drawing in _A Ordem de Christo_ by Vieira Guimarães.
[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 João 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 Michaëlis 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 Bacalhôa at Azeitão 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 São Marcos near Coimbra.
[126] A conto = 1.000$000.
[127] It is no use telling a tramway conductor to stop near the Torre de São 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 Bacalhôa 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, João 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 £31.
[131] Nicolas was the first of the French renaissance artists to come to Portugal.
[132] _E.g._ on the Hotel Bourgthéroulde, 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 João 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 Simão.
[140] The stone used at Batalha and at Alcobaça 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 Alcobaça. The stone resembles Caen stone, but is even finer.
[141] João de Ruão 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 forão 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] _São 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 São 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] João then bought a house in the Rua de Corredoura for 80$000 or nearly £18.--Vieira Guimarães, _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 Guimarães, p. 179.
[152] From book 34 of João III.'s Chancery a 'quitaçã' or discharge given to João de Castilho for all the work done for Dom João 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 São 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 Alcobaça and Batalha; besides he made a bastion at Mazagão so strong,' etc.--Raczynski's _Les Artistes Portugais_.
[153] Vieira Guimarães, _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. Serrão, E. Po. D Roure, Pietra concra. Muitas Pessoas ds. cid^{eç}.
[155] Ferguson (_History of Modern Architecture_, vol. ii. p. 287) says that some of the cloisters at Gôa 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 São Martin, has an iron screen like a poor Spanish _reja_.
[158] It has been pulled down quite lately. Lorvão, 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] São 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