said to have built it about 1524, but that is an impossibly early date, as even in far less remote places such classical columns were not used till at least ten years later. Yet the cloister must probably have been built some time before 1550. An upper unarched cloister, with an architrave resting on simple Doric columns, was added, sede vacante, between 1720 and 1742, and greatly increases the picturesqueness of the whole. (Fig. 90.)

[Sidenote: Lamego, Cloister.]

A similar but much lower second story was added by Bishop Manoel Noronha[156] in 1557 to the cloister of Lamego Cathedral. The lower cloister with its round arches and eight-sided shafts is interesting, as most of its capitals are late Gothic, some moulded, a few with leaves, though some have been replaced by very good capitals of the Corinthian type but retaining the Gothic abacus.[157]

[Sidenote: Coimbra, Sao Thomaz.]

[Sidenote: Carmo.]

[Sidenote: Cintra, Penha Longa.]

[Sidenote: Faro, Sao Bento.]

[Sidenote: Lorvao.]

Most, however, of the cloisters of this period do not have a continuous arcade like that of Vizeu, but have arches set in pairs in the lower story with big buttresses between each pair. Such is the cloister of the college of Sao Thomaz at Coimbra, founded in 1540, where the arches of the lower cloister rest on Ionic capitals, while the architrave of the upper is upheld by thin Doric columns; of the Carmo, also at Coimbra, founded in 1542, where the cloister is almost exactly like that of Sao Thomaz, except that there are twice as many columns in the upper story; of Penha Longa near Cintra, where the two stories are of equal height and the lower, with arches, has moulded and the upper, with horizontal architrave, Ionic capitals, and of Sao Bento at Faro, where the lower capitals are like those in the Marvilla, but without volutes, while the upper are Ionic. In all these the big square buttress is carried right up to the roof of the upper cloister, as it was also at Lorvao near Coimbra. There the arches below are much wider, so that above the number of supports has been doubled.[158]

[Sidenote: Amarante.]

In one of the cloisters of Sao Goncalvo at Amarante on the Tamega—famous for the battle on the bridge during the French invasion—there is only one arch to each bay below, and it springs from jambs, not from columns, and is very plain. The buttresses do not rise above the lower cornice and have Ionic capitals, as have also the rather stout columns of the upper story. The lower cloister is roofed with a beautiful three-centred vault with many ribs, and several of the doors are good examples of early renaissance.

[Sidenote: Santarem, Sta. Clara.]

More like the other cloisters, but probably somewhat later in date, is that of Sta. Clara at Santarem, fast falling to pieces. In it there are three arches, here three-centred, to each bay, and instead of projecting buttresses wide pilasters, like the columns, Doric below, Ionic above.

[Sidenote: Guarda, Reredos.]

On first seeing the great reredos in the cathedral of Guarda, the tendency is to attribute it to a period but little later than the works of Master Nicolas at Sao Marcos or of Joao de Ruao at Coimbra. But on looking closer it is seen that a good deal of the ornament—the decoration of the pilasters and of the friezes—as well as the appearance of the figures, betray a later date—a date perhaps as late as the end of the reign of Dom Joao III. (Fig. 91.)

Though the reredos is very much larger and of finer design, the figures have sufficient resemblance to those in the chapel of the Holy Sacrament in the Se Velha at Coimbra, put up in 1566, to show that they must be more or less contemporary, the Guarda reredos being probably the older.[159]

Filling the whole of the east end of the apse of the Capella Mor, the structure rises in a curve up to the level of the windows. Without the beautiful colouring of Master Vlimer's work at Coimbra, or the charm of the reredos at Funchal, with figures distinctly inferior to those by Master Nicolas at Sao Marcos, this Guarda reredos is yet a very fine piece of work, and is indeed the only large one of its kind which still survives.

It is divided into three stories, each about ten feet high, with a half-story below resting on a plain plinth.

Each story is divided into large square panels by pilasters or columns set pretty close together, the topmost story having candelabrum shafts, the one below it Corinthian columns, the lowest Doric pilasters, and the half-story below pedestals for these pilasters. Entablatures with ornamental friezes divide each story, while at the top the centre is raised to admit of an arch, an arrangement probably copied from Joao de Ruao's altar-piece.

In the half-story at the bottom are half-figures of the twelve Apostles, four under each of the square panels at the sides, and one between each pair of pilasters.

Above is represented, on the left the Annunciation, on the right the Nativity; in the centre, now hidden by a hideous wooden erection, there is a beautiful little tabernacle between two angels. Between the pilasters, as between the columns above, stand large figures of prophets.

In the next story the scenes are, on the left the Magi, on the right the Presentation, and in the centre the Assumption of the Virgin.

The whole of the top is taken up with the Story of the Crucifixion, our Lord bearing the Cross on the left, the Crucifixion under the arch, and the Deposition on the right.

Although the whole is infinitely superior in design to anything by Master Nicolas, it must be admitted that the sculpture is very inferior to his, and also to Joao de Ruao's. The best are the Crucifixion scenes, where the grouping is better and the action freer, but everywhere the faces are rather expressionless and the figures stiff.

As everything is painted, white for the background and an ugly yellow for the figures and detail, it is not possible to see whether stone or terra cotta is the material; if terra cotta the sculptor may have been a pupil of Filipe Eduard, who in the time of Dom Manoel wrought the Last Supper in terra cotta, fragments of which still survive at Coimbra.



CHAPTER XVII

THE LATER RENAISSANCE AND THE SPANISH USURPATION

This earlier style did not, however, last very long. Even before the death of Dom Joao more strictly classical forms began to come in from Italy, brought by some of the many pupils who had been sent to study there. Once when staying at Almeirim the king had been much interested in a model of the Colosseum brought to him by Goncalo Bayao, whom he charged to reproduce some of the monuments he had seen in Rome.

Whether he did reproduce them or not is unknown, but in the Claustro dos Filippes at Thomar this new and thoroughly Italian style is seen fully developed.

[Sidenote: Thomar, Claustro dos Filippes.]

Diogo de Torralva had been nominated to direct the works in Thomar in 1554, but did nothing to this cloister till 1557 after Dom Joao's death, when his widow, Dona Catharina, regent for her grandson, Dom Sebastiao, ordered him to pull down what was already built, as it was unsafe, and to build another of the same size about one hundred and fifteen feet square, but making the lower story rather higher.

The work must have been carried out quickly, since on the vault of the upper cloister there is the date 1562—a date which shows that the whole must have been practically finished some eighteen years before Philip of Spain secured the throne of Portugal, and that therefore the cloister should rather be called after Dona Catharina, who ordered it, than after the 'Reis Intrusos,' whose only connection with Thomar is that the first was there elected king.

Between each of the three large arches which form a side of the lower cloister stand two Roman Doric columns of considerable size. They are placed some distance apart leaving room between them for an opening, while another window-like opening occurs above the moulding from which the arches



spring. In the four corners the space between the columns, as well as the entablature, is set diagonally, leaving room in one instance for a circular stair. The cornice is enriched with dentils and the frieze with raised squares. On the entablature more columns of about the same height as those below, but with Ionic capitals, stand in pairs. Stairs lead up in each corner to the flat roof, above which they rise in a short dome-bearing drum. In this upper cloister the arches are much narrower, springing from square Ionic pilasters, two on each side, set one behind the other, and leaving an open space beyond so that the whole takes the form of a Venetian window. The small upper window between the columns is round instead of square, and the cornice is carried on large corbels. In front of all the openings is a balustrade. Two windows look south down the hillside over rich orchards and gardens, while immediately below them a water channel, the end of a great aqueduct built under Philip I. of Portugal, II. of Spain, by the Italian Filippo Terzi,[160] cools the air, and, overflowing, clothes the arches with maidenhair fern. Another window opening on to the Claustro de Sta. Barbara gives a very good view of the curious west front of the church. There is not and there probably never was any parapet to the flat paved roof, from where one can look down on the surrounding cloisters, and on the paved terrace before the church door where Philip was elected king in April 1580. (Fig. 92.)

This cloister, the first example in Portugal of the matured Italian renaissance, is also, with the exception of the church of Sao Vicente de Fora at Lisbon, the most successful, for all is well proportioned, and shows that Diogo de Torralva really understood classic detail and how to use it. He was much less successful in the chancel of Belem, while about the cathedral which he built at Miranda de Douro it is difficult to find out anything, so remote and inaccessible is it, except that it stands magnificently on a high rock above the river.[161]

The reigns of Dom Sebastiao and of his grand-uncle, the Cardinal-King, were noted for no great activity in building. Only at Evora, where he so long filled the position of archbishop before succeeding to the throne, was the cardinal able to do much. The most important architectural event in Dom Sebastiao's reign was the coming of Filippo Terzi from Italy to build Sao Roque, the church of the Jesuits in Lisbon, and the consequent school of architects, the Alvares, Tinouco, Turianno, and others who were so active during the reign of Philip.

But before speaking of the work of this school some of Cardinal Henry's buildings at Evora must be mentioned, and then the story told of how Philip succeeded in uniting the whole Peninsula under his rule.

[Sidenote: Evora, Graca.]

A little to the south of the cathedral of Evora, and a little lower down the hill, stands the Graca or church of the canons of St. Augustine. Begun during the reign of Dom Joao III., the nave and chancel, in which there is a fine tomb, have many details which recall the Conceicao at Thomar, such as windows set in sham perspective. But they were long in building, and the now broken down barrel vault and the curious porch were not added till the reign of Dom Sebastiao, while the monastic buildings were finished about the same time.

This porch is most extraordinary. Below, there are in front four well-proportioned and well-designed Doric columns; beyond them and next the outer columns are large projecting pilasters forming buttresses, not unlike the buttresses in some of the earlier cloisters. Above the entablature, which runs round these buttresses, there stand on the two central columns two tall Ionic semi-columns, surmounted by an entablature and pointed pediment, and enclosing a large window set back in sham perspective. On either side large solid square panels are filled by huge rosettes several feet across, and above them half-pediments filled with shields reach up to the central pediment but at a lower level. Above these pediments another raking moulding runs up supported on square blocks, while on the top of the upper buttresses there sit figures of giant boys with globes on their backs; winged figures also kneel on the central pediment.

It will be seen that this is one of the most extraordinary erections in the world. Though built of granite some of the detail is quite fine, and the lower columns are well proportioned; but the upper part is ridiculously heavy and out of keeping with the rest, and inconceivably ill-designed. The different parts also are ill put together and look as if they had belonged to distinct buildings designed on a totally different scale.

[Sidenote: Evora University.]

Not much need be said of the Jesuit University founded at Evora by the Cardinal in 1559 and suppressed by the Marques de Pombal. Now partly a school and partly an orphanage, the great hall for conferring degrees is in ruins, but the courtyard with its two ranges of galleries still stands. The court is very large, and the galleries have round arches and white marble columns, but is somehow wanting in interest. The church too is very poor, though the private chapel with barrel vault and white marble dome is better, yet the whole building shows, like the Graca porch, that classic architecture was not yet fully understood, for Diogo de Torralva had not yet finished his cloister at Thomar, nor had Terzi begun to work in Lisbon.

When Dom Joao III. died in 1557 he was succeeded by his grandson Sebastiao, who was then only three years old. At first his grandmother, Dona Catharina, was regent, but she was thoroughly Spanish, and so unpopular. For five years she withstood the intrigues of her brother-in-law, Cardinal Henry, but at last in 1562 retired to Spain in disgust. The Cardinal then became regent, but the country was really governed by two brothers, of whom the elder, Luis Goncalves da Camara, a Jesuit, was confessor to the young king.

Between them Dom Sebastiao grew up a dreamy bigot whose one ambition was to lead a crusade against the Moors—an ambition in which popular rumour said he was encouraged by the Jesuits at the instigation of his cousin, Philip of Spain, who would profit so much by his death.

Since the wealth of the Indies had begun to fill the royal treasury, the Cortes had not been summoned, so there was no one able to oppose his will, when at last an expedition sailed in 1578.

At this time the country had been nearly drained of men by India and Brazil, so a large part of the army consisted of mercenaries; peculation too had emptied the treasury, and there was great difficulty in finding money to pay the troops.

Yet the expedition started, and landing first at Tangier afterwards moved on to Azila, which Mulay Ahmed, a pretender to the Moorish umbrella, had handed over.

On July 29th, Dom Sebastiao rashly started to march inland from Azila. The army suffered terribly from heat and thirst, and was quite worn out before it met the reigning amir, Abd-el-Melik, at Alcacer-Quebir, or El-Kasar-el-Kebir, 'the great castle,' on the 3rd of August.

Next morning the battle began, and though Abd-el-Melik died almost at once, the Moors, surrounding the small Christian army, were soon victorious. Nine thousand were killed, and of the rest all were taken prisoners except fifty. Both the Pretender and Dom Sebastiao fell, and with his death and the destruction of his army the greatness of Portugal disappeared.

For two years, till 1580, his feeble old grand-uncle the Cardinal Henry sat on the throne, but when he died without nominating an heir none of Dom Manoel's descendants were strong enough to oppose Philip II. of Spain. Philip was indeed a grandson of Dom Manoel through his mother Isabel, but the duchess of Braganza, daughter of Dom Duarte, duke of Guimaraes, Cardinal Henry's youngest brother, had really a better claim.

But the spirit of the nation was changed, she dared not press her claims, and few supported the prior of Crato, whose right was at least as good as had been that of Dom Joao I., and so Philip was elected at Thomar in April 1580.

Besides losing her independence Portugal lost her trade, for Holland and England both now regarded her as part of their great enemy, Spain, and so harried her ports and captured her treasure ships. Brazil was nearly lost to the Dutch, who also succeeded in expelling the Portuguese from Ceylon and from the islands of the East Indies, so that when the sixty years' captivity was over and the Spaniards expelled, Portugal found it impossible to recover the place she had lost.

It is then no wonder that almost before the end of the century money for building began to fail, and that some of the churches begun then were never finished; and yet for about the first twenty or thirty years of the Spanish occupation building went on actively, especially in Lisbon and at Coimbra, where many churches were planned by Filippo Terzi, or by the two Alvares and others. Filippo Terzi seems first to have been employed at Lisbon by the Jesuits in building their church of Sao Roque, begun about 1570.[162]

[Sidenote: Lisbon, Sao Roque.]

Outside the church is as plain as possible; the front is divided into three by single Doric pilasters set one on each side of the main door and two at each corner. Similar pilasters stand on these, separated from them only by a shallow cornice. The main cornice is larger, but the pediment is perfectly plain. Three windows, one with a pointed and two with round pediments, occupy the spaces left between the upper pilasters. The inside is richer; the wooden ceiling is painted, the shallow chancel and the side chapels vaulted with barrel vaults, of which those in the chapels are enriched with elaborate strapwork. Above the chapels are square-headed windows, and then a corbelled cornice. Even this is plain, and it owes most of its richness to the paintings and to the beautiful tiles which cover part of the walls.[163]

The three other great churches which were probably also designed by Terzi are Santo Antao, Sta. Maria do Desterro, and Sao Vicente de Fora.

Of these the great earthquake of 1755 almost entirely destroyed the first two and knocked down the dome of the last.

[Sidenote: Sao Vicente de Fora.]

Though not the first to be built, Sao Vicente being the least injured may be taken before the others. It is a large church, being altogether about 236 feet long by 75 wide, and consists of a nave of three bays with connected chapels on each side, a transept with the fallen dome at the crossing, a square chancel, a retro-choir for the monks about 45 feet deep behind the chancel, and to the west a porch between two tall towers.

On the south side are two large square cloisters of no great interest with a sacristy between—in which all the kings of the House of Braganza lie in velvet-covered coffins—and the various monastic buildings now inhabited by the patriarch of Lisbon.

The outside is plain, except for the west front, which stands at the top of a great flight of steps. On the west front two orders of pilasters are placed one above the other. Of these the lower is Doric, of more slender proportions than usual, while the upper has no true capitals beyond the projecting entablature and corbels on the frieze. Single pilasters divide the centre of the front into three equal parts and coupled pilasters stand at the corners of the towers. In the central part three plain arches open on to the porch, with a pedimented niche above each. In the tower the niches are placed lower with oblong openings above and below.

Above the entablature of the lower order there are three windows in the middle flanked by Ionic pilasters and surmounted by pediments, while in the tower are large round-headed niches with pediments. (Fig. 93.)



The entablature of the upper order is carried straight across the whole front, with nothing above it in the centre but a balustrading interrupted by obelisk-bearing pedestals, but at the ends the towers rise in one more square story flanked with short Doric pilasters. Round-arched openings for bells occur on each side, and within the crowning balustrade with its obelisks a stone dome rises to an eight-sided domed lantern.

Like all the church, the front is built of beautiful limestone, rivalling Carrara marble in whiteness, and seen down the narrow street which runs uphill from across the small praca the whole building is most imposing. It would have been even more satisfactory had the central part been a little narrower, and had there been something to mark the barrel vault within; the omission too of the lower order, which is so much taller than the upper, would have been an improvement, but even with these defects the design is most stately, and refreshingly free of all the fussy over-elaboration and the fantastic piling up of pediments which soon became too common.

But if the outside deserves such praise, the inside is worthy of far more. The great stone barrel vault is simply coffered with square panels. The chapel arches are singularly plain, and spring from a good moulding which projects nearly



to the face of the pilasters. Two of these stand between each chapel, and have very beautiful capitals founded on the Doric but with a long fluted neck ornamented in front by a bunch of crossed arrows and at the corners with acanthus leaves, and with egg and tongue carved on the moulding below the Corinthian abacus. Of the entablature, only the frieze and architrave is broken round the pilasters; for the cornice with its great mutules runs straight round the whole church, supported over the chapels by carving out the triglyphs—of which there is one over each pilaster, and two in the space between each pair of pilasters—so as to form corbels.

Only the pendentives of the dome and the panelled drum remain; the rest was replaced after the earthquake by wooden ceiling pierced with skylights. (Fig. 94.)

Though so simple—there is no carved ornament except in the beautiful capitals—the interior is one of the most imposing to be seen anywhere, and though not really very large gives a wonderful impression of space and size, being in this respect one of the most successful of classic churches. It is only necessary to compare Sao Vicente de Fora with the great clumsy cathedral which Herrera had begun to build five years earlier at Valladolid to see how immensely superior Terzi was to his Spanish contemporary. Even in his masterpiece, the church of the Escorial, Herrera did not succeed in giving such spacious greatness, for, though half as large again, the Escorial church is imposing rather from its stupendous weight and from the massiveness of its granite piers than from the beauty of its proportions.

Philip took a great interest in the building of the Escorial, and also had the plans of Sao Vicente submitted to him in 1590. This plan, signed by him in November 1590, was drawn by Joao Nunes Tinouco, so that it is possible that Tinouco was the actual designer and not Terzi, but Tinouco was still alive sixty years later when he published a plan of Lisbon, and so must have been very young in 1590. It is probable, therefore, that tradition is right in assigning Sao Vicente to Terzi, and even if it be actually the work of Tinouco, he has here done little but copy what his master had already done elsewhere.

[Sidenote: Lisbon, Santo Antao.]

After Sao Roque the first church begun by Terzi was Santo Antao, now attached to the hospital of Sao Jose. Begun in 1579 it was not finished till 1652, only to be destroyed by the earthquake in 1755. As at Sao Vicente, the west front has a lower order of huge Doric pilasters nearly fifty feet high. There is no porch, but three doors with poor windows above which look as if they had been built after the earthquake.

Unfortunately, nearly all above the lower entablature is gone, but enough is left to show that the upper order was Ionic and very short, and that the towers were to rise behind buttress-like curves descending from the central part to two obelisks placed above the coupled corner pilasters.

The inside was almost exactly like Sao Vicente, but larger.

[Sidenote: Lisbon, Santa Maria do Desterro.]

Santa Maria do Desterro was begun later than either of the last two, in 1591. Unlike them the two orders of the west front are short and of almost equal size, Doric below and Ionic above. The arches of the porch reach up to the lower entablature, and the windows above are rather squat; it looks as if there was to have been a third order above, but it is all gone.

The inside was of the usual pattern, except that the pilasters were not coupled between the chapels, that they were panelled, and that above the low chapel arches there are square windows looking into a gallery.

[Sidenote: Torreao do Paco.]

Besides these churches Terzi built for Philip a large addition to the royal palace in the shape of a great square tower or pavilion, called the Torreao. The palace then stood to the west of what is now called the Praca do Commercio, and the Torreao jutted out over the Tagus. It seems to have had five windows on the longer and four on the shorter sides, to have been two stories in height, and to have been covered by a great square dome-shaped roof, with a lantern at the top and turrets at the corners. Pilasters stood singly between each window and in pairs at the corners, and the windows all had pediments. Now, not a stone of it is left, as it was in the palace square, the Terreno do Paco da Ribeira, that the earthquake was at its worst, swallowing up the palace and overwhelming thousands of people in the waves of the river.

[Sidenote: Coimbra, Se Nova.]

Meanwhile the great Jesuit church at Coimbra, now the Se Nova or new cathedral, had been gradually rising. Founded by Dom Joao III. in 1552, and dedicated to the Onze mil Virgems, it cannot have been begun in its present form till much later, till about 1580, while the main, or south, front seems even later still.[164]

Inside, the church consists of a nave of four bays with side chapels—in one of which there is a beautiful Manoelino font—transepts and chancel with a drumless dome over the crossing. In some respects the likeness to Sao Vicente is very considerable; there are coupled Doric pilasters between the chapels, the barrel vault is coffered, and the chapel arches are extremely plain. But here the likeness ends. The pilasters are panelled and have very simple moulded capitals; the entablature is quite ordinary, without triglyphs or mutules, and is broken round each pair of pilasters; the coffers on the vault are very deep, and are scarcely moulded; and, above all, the proportions are quite different as the nave is too wide for its height, and the drum is terribly needed to lift up the dome. In short, the architect seems to have copied the dispositions of Santo Antao and has done his best to spoil them, and yet he has at the same time succeeded in making the interior look large, though with an almost Herrera-like clumsiness.

The south front is even more like Santo Antao. As there, three doors take the place of the porch, and the only difference below is that each Doric pilaster is flanked by half pilasters. Above the entablature the front breaks out into a wild up-piling of various pediments, but even here the likeness to Santo Antao is preserved, in that a great curve comes down from the outer Ionic pilasters of the central part, to end, however, not in obelisks, but in a great volute: the small towers too are set much further back. Above, as below, the central part is divided into three. Of these the two outer, flanked by Ionic pilasters on pedestals, are finished off above with curved pediments broken to admit of obelisks. The part between these has a large window below, a huge coat of arms above, and rises high above the sides to a pediment so arranged that while the lower mouldings form an angle the upper form a curve on which stand two finials and a huge cross. (Fig. 95.)

[Sidenote: Oporto, Collegio Novo.]

Very soon this fantastic way of piling up pieces of pediment and of entablature became only too popular, being copied for instance in the Collegio Novo at Oporto, where, however, the design is not quite so bad as the towers are brought forward and are carried up considerably higher. But apart from this horrid misuse of classic details the greatest fault of the facade at Coimbra is the disproportionate size of some of the details; the obelisks and the cherubs' heads on which they stand, the statues at the ends, and the central cross, and above all the colossal acanthus leaves in the great scrolls are of such a size as entirely to dwarf all the rest.

From what remains of the front of Santo Antao, it looks as if it and the front of the Se Velha had been very much alike. Santo Antao was not quite finished till 1652, so that it is probable that the upper part of the west front dates from the seventeenth century, long after Terzi's death, and that the Se Nova at Coimbra was finished about the same time, and perhaps copied from it.

[Sidenote: Coimbra, Misericordia.]

But it was not only Terzi's churches which were copied at Coimbra. While the Se Nova, then, and for nearly two hundred years more, the church of the Jesuits, was still being built, the architect of the chief pateo of the Misericordia took Diogo de Torralva's cloister at Thomar as his model.

It was in the year 1590 that Cardinal Affonso de Castello Branco began to build the headquarters of the Misericordia of Coimbra, founded in 1500 as a simple confraternity. The various offices of the institution, including a church, the halls whose ceilings have been already mentioned, and hospital dormitories—all now turned into an orphanage—are built round two courtyards, one only of which calls for special notice, for nearly everything else has been rebuilt or altered. In this court or cloister, the plan of the Claustro dos Filippes has been followed in that there are three wide arches on each side, and between them—but not in the corners, and further apart than at Thomar—a pair of columns. In this case the space occupied by one arch is scarcely wider than that occupied by the two fluted Doric columns and the square-headed openings between them. Another change is that the complete entablature with triglyphs and metopes is only found above the columns, for the arches rise too high to leave room for more than the cornice. (Fig. 96.)

The upper story is quite different, for it has only square-headed windows, though the line of the columns is carried up by slender and short Ionic columns; a sloping tile roof rests immediately on the upper cornice, above which rise small obelisks placed over the columns.

[Sidenote: Coimbra, Episcopal Palace.]

At about the same time the Cardinal built a long loggia on the west side of the entrance court of his palace at Coimbra. The hill on which the palace is built being extremely



steep, an immense retaining wall, some fifty or sixty feet high, bounds the courtyard on the west, and it is on the top of this wall that the loggia is built forming a covered way two stories in height and uniting the Manoelino palace on the north with some offices which bound the yard on the south. This covered way is formed by two rows of seven arches, each resting on Doric columns, with a balustrading between the outer columns on the top of the great wall. The ceiling is of wood and forms the floor of the upper story, where the columns are Ionic and support a continuous architrave. The whole is quite simple and unadorned, but at the same time singularly picturesque, since the view through the arches, over the old cathedral and the steeply descending town, down to the convent of Santa Clara and the wooded hills beyond the Mondego, is most beautiful; besides, the courtyard itself is not without interest. In the centre stands a fountain, and on the south side a stair, carried on a flying half-arch, leads up to a small porch whose steep pointed roof rests on two walls, and on one small column.

[Sidenote: Coimbra, Se Velha Sacristy.]

The same bishop also built the sacristy of the old cathedral. Entered by a passage from the south transept, and built across the back of the apse, it is an oblong room with coffered barrel vault, lit by a large semicircular window at the north end. The cornice, of which the frieze is adorned with eight masks, rests on corbels. On a black-and-white marble lavatory is the date 1593 and the Cardinal's arms. The two ends are divided into three tiled panels by Doric columns, and on the longer sides are presses.

Altogether it is very like the sacristy of Santa Cruz built some thirty years later, but plainer.

By 1590 or so several Portuguese followers of Terzi had begun to build churches, founded on his work, but in some respects less like than is the Se Nova at Coimbra. Such churches are best seen at Coimbra, where many were built, all now more or less deserted and turned to base uses. Three at least of these stand on either side of the long Rua Sophia which leads northwards from the town.

[Sidenote: Coimbra, Sao Domingos.]

The oldest seems to be the church of Sao Domingos, founded by the dukes of Aveiro, but never finished. Only the chancel with its flanking chapels and the transept have been built. Two of the churches at Lisbon and the Se Nova of Coimbra are noted for their extremely long Doric pilasters. Here, in the chancel the pilasters and the half columns in the transept are Ionic, and even more disproportionately tall. The architrave is unadorned, the frieze has corbels set in pairs, and between the pairs curious shields and strapwork, and the cornice is enriched with dentils, egg and tongue and modillions. Most elaborate of all is the barrel vault, where each coffer is filled with round or square panels surrounded with strapwork.

This vault and the cornice were probably not finished till well on in the seventeenth century, for on the lower, and probably earlier vaults, of the side chapels the ornamentation is much finer and more delicate.

The transepts were to have been covered with groined vaults of which only the springing has been built. In the north transept and in one of the chapels there still stand great stone reredoses once much gilt, but now all broken and dusty and almost hidden behind the diligences and cabs with which the church is filled. The great fault in Sao Domingos is the use of the same order both for the tall pilasters in the chancel, and for the shorter ones in the side chapels; so that the taller, which are twice as long and of about the same diameter, are ridiculously lanky and thin.

[Sidenote: Coimbra, Carmo.]

Almost opposite Sao Domingos is the church of the Carmo, begun by Frey Amador Arraes, bishop of Portalegre about 1597. The church is an oblong hall about 135 feet long, including the chancel, by nearly 40 wide, roofed with a coffered barrel vault. On each side of the nave are two rectangular and one semicircular chapel; the vaults of the chapel are beautifully enriched with sunk panels of various shapes. The great reredos covers the whole east wall with two stories of coupled columns, niches and painted panels.

[Sidenote: Coimbra, Graca.]

Almost exactly the same is the Graca church next door, both very plain and almost devoid of interest outside.

[Sidenote: Sao Bento.]

Equally plain is the unfinished front of the church of Sao Bento up on the hill near the botanical gardens. It was designed by Baltazar Alvares for Dom Diogo de Murca, rector of the University in 1600, but not consecrated till thirty-four years later. The church, which inside is about 164 feet long, consists of a nave with side chapels, measuring 60 feet by about 35, a transept of the same width, and a square chancel. Besides there is a deep porch in front between two oblong towers, which have never been carried up above the roof.

The porch is entered by three arches, one in the middle wider and higher than the others. Above are three niches with shell heads, and then three windows, two oblong and one round, all set in rectangular frames. At the sides there are broad pilasters below, with the usual lanky Doric pilasters above reaching to the main cornice, above which there now rises only an unfinished gable end. The inside is much more pleasing. The barrel vaults of the chapels are beautifully panelled and enriched with egg and tongue; between each, two pilasters rise only to the moulding from which the chapel arches spring, and support smaller pilasters with a niche between. In the spandrels of the arches are rather badly carved angels holding shields, and on the arches themselves, as at Sao Marcos, are cherubs' heads. A plain entablature runs along immediately above these arches, and from it to the main cornice, the walls, covered with blue and white tiles, are perfectly blank, broken only by square-headed windows. Only at the crossing do pilasters run up to the vault, and they are of the usual attenuated Doric form. As usual the roof is covered with plain coffers, as is also the drumless dome.

This is very like the Carmo and the Graca, which repeat the fault of leaving a blank tiled wall above the chapels, and it is quite possible that they too may have been built by Alvares; the plan is evidently founded on that of one of Terzi's churches, as Sao Vicente, or on that of the Se Nova, but though some of the detail is charming there is a want of unity between the upper and lower parts which is found in none of Terzi's work, nor even in the heavier Se Nova.[165]

[Sidenote: Lisbon, Sao Bento.]

Baltazar Alvares seems to have been specially employed by the order of St. Benedict, for not only did he build their monasteries at Coimbra but also Sao Bento, now the Cortes in Lisbon, as well as Sao Bento da Victoria at Oporto, his greatest and most successful work.

[Sidenote: Oporto, Sao Bento.]

The plan is practically the same as that of Sao Bento at Coimbra, but larger. Here, however, there are no windows over the chapel arches, nor any dome at the crossing. Built of grey granite, a certain heaviness seems suitable enough, and the great coffered vault is not without grandeur, while the gloom of the inside is lit up by huge carved and gilt altar-pieces and by the elaborate stalls in the choir gallery.



CHAPTER XVIII

OTHER BUILDINGS OF THE LATER RENAISSANCE, TILL THE EXPULSION OF THE SPANIARDS

In the last chapter the most important works of Terzi and of his pupils have been described, and it is now necessary to go back and tell of various buildings which do not conform to his plan of a great barrel-vaulted nave with flanking chapels, though the designers of some of these buildings have copied such peculiarities as the tall and narrow pilasters of which his school was so fond, and which, as will be seen, ultimately degenerated into mere pilaster strips.

[Sidenote: Vianna do Castello, Misericordia.]

But before speaking of the basilican and other churches of this time, the Misericordia at Vianna do Castello must be described.[166]

The Misericordia of Vianna stands on the north side of the chief square of the town, and was built in 1589 by one Joao Lopez, whose father had designed the beautiful fountain which stands near by.

It is a building of very considerable interest, as there seems to be nothing else like it in the country. The church of the Misericordia, a much older building ruined by later alteration, is now only remarkable for the fine blue and white tile decoration with which its walls are covered. Just to the west of it, and at the corner of the broad street in which is a fine Manoelino house belonging to the Visconde de Carreira, stands the building designed by Lopez. The front towards the street is plain, but that overlooking the square highly decorated.

At the two corners are broad rusticated bands which run up uninterrupted to the cornice; between them the front is divided into three stories of open loggias. Of these the lowest has five round arches resting on Ionic columns; in



the second, on a solid parapet, stand four whole and two half 'terms' or atlantes which support an entablature with wreath-enriched frieze; corbels above the heads of the figures cross the frieze, and others above them the low blocking course, and on them are other terms supporting the main cornice, which is not of great projection. A simple pediment rises above the four central figures, surmounted by a crucifix and containing a carving of a sun on a strapwork shield. (Fig. 97.)

The whole is of granite and the figures and mouldings are distinctly rude, and yet it is eminently picturesque and original, and shows that Lopez was a skilled designer if but a poor sculptor.

[Sidenote: Beja, Sao Thiago.]

Coming now to the basilican churches. That of Sao Thiago at Beja was begun in 1590 by Jorge Rodrigues for Archbishop Theotonio of Evora. It has a nave and aisles of six bays covered with groined vaults resting on Doric columns, a transept and three shallow rectangular chapels to the east. The clerestory windows are round.

[Sidenote: Azeitao, Sao Simao.]

Much the same plan had been followed a little earlier by Affonso de Albuquerque, son of the great viceroy of India, when about 1570 he built the church of Sao Simao close to his country house of Bacalhoa, at Azeitao not far from Setubal. Sao Simao is a small church with nave and aisles of five bays, the latter only being vaulted, with arcades resting on Doric columns; at first there was a tower at each corner, but they fell in 1755, and only one has been rebuilt. Most noticeable in the church are the very fine tiles put up in 1648, with saintly figures over each arch. They are practically the same as those in the parish church of Alvito.

[Sidenote: Evora, Cartuxa.]

Another basilican church of this date is that of the Cartuxa or Charter House,[167] founded by the same Archbishop Theotonio in 1587, a few miles out of Evora. Only the west front, built about 1594 of black and white marble, deserves mention. Below there is a porch, spreading beyond the church, and arranged exactly like the lower Claustro dos Filippes at Thomar, with round arches separated by two Doric columns on pedestals, but with a continuous entablature carried above the arches on large corbelled keystones. Behind rises the front in two stories. The lower has three windows, square-headed and separated by Ionic columns, two on each side, with niches between. Single Ionic columns also stand at the outer angles of the aisles. In the upper story the central part is carried up to a pediment by Corinthian columns resting on the Ionic below; between them is a large statued niche surrounded by panels.

Unfortunately the simplicity of the design is spoilt by the broken and curly volutes which sprawl across the aisles, by ugly finials at the corners, and by a rather clumsy balustrading to the porch.

[Sidenote: Beja, Misericordia.]

The interior of the Misericordia at Beja, a square, divided into nine smaller vaulted squares by arches resting on fine Corinthian columns, with altar recesses beyond, looks as if it belonged to the time of Dom Joao III., but if so the front must have been added later. This is very simple, but at the same time strong and unique. The triple division inside is marked by three great rusticated Doric pilasters on which rest a simple entablature and parapet. Between are three round arches, enclosing three doors of which the central has a pointed pediment, while over the others a small round window lights the interior.

[Sidenote: Oporto, Nossa Senhora da Serra do Pilar.]

But by far the most original of all the buildings of this later renaissance is the monastery of Nossa Senhora da Serra do Pilar in Villa Nova de Gaya, the suburb of Oporto which lies south of the Douro. Standing on a high granite knoll, which rises some fifty feet above the country to the south, and descends by an abrupt precipice on the north to the deep-flowing river, here some two hundred yards wide, and running in a narrow gorge, the monastery and its hill have more than once played an important part in history. From there Wellington, in 1809, was able to reconnoitre the French position across the river while his army lay hidden behind the rocks; and it was from a creek just a little to the east that the first barges started for the north bank with the men who seized the unfinished seminary and held it till enough were across to make Soult see he must retreat or be cut off. Later, in 1832, the convent, defended for Queen Maria da Gloria, was much knocked about by the besieging army of Dom Miguel.

The Augustinians had begun to build on the hill in 1540, but none of the present monastery can be earlier than the seventeenth century, the date 1602 being found in the cloister.

The plan of the whole building is most unusual and original: the nave is a circle some seventy-two feet in diameter, surmounted by a dome, and surrounded by eight shallow chapels, of which one contains the entrance and another is prolonged to form a narrow chancel. This chancel leads to a larger square choir behind the high altar, and east of it is a round cloister sixty-five feet across. The various monastic buildings are grouped round the choir and cloister, leaving the round nave standing free. The outside of the circle is two stories in height, divided by a plain cornice carried round the pilasters which mark the recessed chapels within. The face of the wall above this cornice is set a little back, and the pilaster strips are carried up a short distance to form a kind of pedestal, and are then set back with a volute and obelisk masking the offset. The main cornice has two large corbels to each bay, and carries a picturesque balustrading within which rises a tile roof covering the dome and crowned by a small lantern at the top. The west door has two Ionic columns on each side; a curious niche with corbelled sides rises above it to the lower cornice; and the church is lit by a square-headed window pierced through the upper part of each bay. Only the pilasters, cornices, door and window dressings are of granite ashlar, all the rest being of rubble plastered and whitewashed.



Now the eucalyptus-trees planted round the church have grown so tall that only the parapet can be seen rising above the tree-tops.

Though much of the detail of the outside is far from being classical or correct, the whole is well proportioned and well put together, but the same cannot be said of the inside. Pilasters of inordinate height have been seen in some of the Lisbon churches, but compared with these which here stand in couples between the chapels they are short and well proportioned. These pilasters, which are quite seventeen diameters high, have for capitals coarse copies of those in Sao Vicente de Fora in Lisbon. In Sao Vicente the cornice was carried on corbels crossing the frieze, and so was continuous and unbroken. Here all the lower mouldings of the cornice are carried round the corbels and the pilasters so that only the two upper are continuous, an arrangement which is anything but an improvement. Another unpleasing feature are the three niches which, with hideous painted figures, are placed one above the other between the pilasters. The chancel arch reaches up to the main cornice, but those of the door and chapel recesses are low enough to leave room for the windows. The dome is divided into panels of various shapes by broad flat ribs with coarse mouldings. The chancel and choir beyond have barrel vaults divided into simple square panels.

The church then, though interesting from its plan, is—inside especially—remarkably unpleasing, though it is perhaps only fair to attribute a considerable part of this disagreeable effect to the state of decay into which it has fallen—a state which has only advanced far enough to be squalid and dirty without being in the least picturesque. Far more pleasing than the church is the round cloister behind. In it the thirty-six Ionic columns are much better proportioned, and the capitals better carved; on the cornice stands an attic, rendered necessary by the barrel vault, heavy indeed, but not too heavy for the columns below. This attic is panelled, and on it stand obelisk-bearing pedestals, one above each column, and between them pediments of strapwork. (Fig. 98.)

Had this cloister been square it would have been in no way very remarkable, but its round shape as well as the fig-trees that now grow in the garth, and the many plants which sprout from joints in the cornice, make it one of the most picturesque buildings in the country. The rest of the monastic buildings have been in ruins since the siege of 1832.

[Sidenote: Coimbra, Santa Cruz Sacristy.]

The sacristy of Santa Cruz at Coimbra must have been begun before Nossa Senhora da Serra had been finished. Though so much later—for it is dated 1622—the architect of this sacristy has followed much more closely the good Italian forms introduced by Terzi. Like that of the Se Velha, the sacristy of Santa Cruz is a rectangular building, and measures about 52 feet long by 26 wide; each of the longer sides is divided into three bays by Doric pilasters which have good capitals, but are themselves cut up into many small panels. The cornice is partly carried on corbels as in the Serra church, but here the effect is much better. There are large semicircular windows, divided into three lights at each end, and



the barrel vault is covered with deep eight-sided coffers. One curious feature is the way the pilasters in the north-east corner are carried on corbels, so as to leave room for two doors, one of which leads into the chapter-house behind the chancel. (Fig. 99.)

[Sidenote: Lisbon, Santa Engracia.]

Twenty years later was begun the church of Santa Engracia in Lisbon. It was planned on a great scale; a vast dome in the centre surrounded by four equal apses, and by four square towers. It has never been finished, and now only rises to the level of the main cornice; but had the dome been built it would undoubtedly have been one of the very finest of the renaissance buildings in the country.

Like the Serra church it is, outside, two stories in height having Doric pilasters below—coupled at the angles of the towers—and Ionic above. In the western apse, the pilasters are replaced by tall detached Doric columns, and the Ionic pilasters above by buttresses which grow out of voluted curves. Large, simply moulded windows are placed between the upper pilasters, with smaller blank windows above them, while in the western apse arches with niches set between pediment-bearing pilasters lead into the church.

Here, in Santa Engracia, is a church designed in the simplest and most severe classic form, and absolutely free of all the fantastic misuse of fragments of classic detail which had by that time become so common, and which characterise such fronts as those of the Se Nova at Coimbra or the Collegio Novo at Oporto. The niches over the entrance arches are severe but well designed, as are the windows in the towers and all the mouldings. Perhaps the only fault of the detail is that the Doric pilasters and columns are too tall.

Now in its unfinished state the whole is heavy and clumsy, but at the same time imposing and stately from its great size; but it is scarcely fair to judge so unfinished a building, which would have been very different had its dome and four encompassing towers risen high above the surrounding apses and the red roofs of the houses which climb steeply up the hillside.

[Sidenote: Coimbra, Santa Clara.]

The new convent of Santa Clara at Coimbra was begun about the same time—in 1640—on the hillside overlooking the Mondego and the old church which the stream has almost buried; and, more fortunate than Santa Engracia, it has been finished, but unlike it is a building of little interest.

The church is a rectangle with huge Doric pilasters on either side supporting a heavy coffered roof. There are no aisles, but shallow altar recesses with square-headed windows above. The chancel at the south end is like the nave but narrower; the two-storied nuns' choir is to the north. As the convent is still occupied it cannot be visited, but contains the tomb of St. Isabel, brought from the old church, in the lower choir, and her silver shrine in the upper. Except for the cloister, which, designed after the manner of the Claustro dos Filippes at Thomar, has coupled Doric columns between the arches, and above, niches flanked by Ionic columns between square windows, the rest of the nunnery is even heavier and more barrack-like than the church. Indeed almost the only interest of the church is the use of the huge Doric pilasters, since from that time onward such pilasters, usually as clumsy and as large, are found in almost every church.

This fondness for Doric is probably due to the influence of Terzi, who seems to have preferred it to all the other orders, though he always gave his pilasters a beautiful and intricate capital. In any case from about 1580 onwards scarcely any other order on a large scale is used either inside or outside, and by 1640 it had grown to the ugly size used in Santa Clara and in nearly all later buildings, the only real exception being perhaps in the work of the German who designed Mafra and rebuilt the Capella Mor at Evora. Such pilasters are found forming piers in the church built about 1600 to be the cathedral of Leiria, in the west front of the cathedral of Portalegre, where they are piled above each other in three stories, huge and tall below, short and thinner above, and in endless churches all over the country. Later still they degenerated into mere angle strips, as in the cathedral of Angra do Heroismo in the Azores and elsewhere.

Such a building as Santa Engracia is the real ending of Architecture in Portugal, and its unfinished state is typical of the poverty which had overtaken the country during the Spanish usurpation, when robbed of her commerce by Holland and by England, united against her will to a decaying power, she was unable to finish her last great work, while such buildings as she did herself finish—for it must not be forgotten that Mafra was designed by a foreigner—show a meanness of invention and design scarcely to be equalled in any other land, a strange contrast to the exuberance of fancy lavished on the buildings of a happier age.



CHAPTER XIX

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.



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 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.