Читать книгу Portuguese Architecture - Walter Crum Watson - Страница 4

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No one can look at a map of the Iberian Peninsula without being struck by the curious way in which it is unequally divided between two independent countries. Spain occupies by far the larger part of the Peninsula, leaving to Portugal only a narrow strip on the western seaboard some one hundred miles wide and three hundred and forty long. Besides, the two countries are separated the one from the other by merely artificial boundaries. The two largest rivers of the Peninsula, the Douro and the Tagus, rise in Spain, but finish their course in Portugal, and the Guadiana runs for some eighty miles through Portuguese territory before acting for a second time as a boundary between the two countries. The same, to a lesser degree, is true of the mountains. The Gerez and the Marão are only offshoots of the Cantabrian mountains, and the Serra da Estrella in Beira is but a continuation of the Sierra de Gata which separates Leon from Spanish Estremadura. Indeed the only natural frontiers are formed by the last thirty miles of the Minho in the north, by about eighty miles of the Douro, which in its deep and narrow gorge really separates Traz os Montes from Leon; by a few miles of the Tagus, and by the Guadiana both before and after it runs through a part of Alemtejo.

If the languages of the two countries were radically unlike this curious division would be more easy to understand, but in reality Castilian differs from Portuguese rather in pronunciation than in anything else; indeed differs less from Portuguese than it does from Cataluñan.[1]

During the Roman dominion none of the divisions of the Peninsula corresponded exactly with Portugal. Lusitania, which the poets of the Renaissance took to be the Roman name of their country, only reached up to the Douro, and took in a large part of Leon and the whole of Spanish Estremadura.

In the time of the Visigoths, a Suevic kingdom occupied most of Portugal to the north of the Tagus, but included also all Galicia and part of Leon; and during the Moorish occupation there was nothing which at all corresponded with the modern divisions.

It was, indeed, only by the gradual Christian re-conquest of the country from the Moors that Portugal came into existence, and only owing to the repeated failure of the attempt to unite the two crowns of Portugal and Castile by marriage that they have remained separated to the present day.

Of the original inhabitants of what is now Portugal little is known, but that they were more Celtic than Iberian seems probable from a few Celtic words which have survived, such as Mor meaning great as applied to the Capella Mor of a church or to the title of a court official. The name too of the Douro has probably nothing to do with gold but is connected with a Celtic word for water. The Tua may mean the 'gushing' river, and the Ave recalls the many Avons. Ebora, now Evora, is very like the Roman name of York, Eboracum. Briga, too, the common termination of town names in Roman times as in Conimbriga—Condeixa a Velha—or Cetobriga, near Setubal—in Celtic means height or fortification. All over the country great rude stone monuments are to be found, like those erected by primitive peoples in almost every part of Europe, and the most interesting, the curious buildings found at various places near Guimarães, seem to belong to a purely Celtic civilisation.

The best-known of these places, now called Citania—from a name of a native town mentioned by ancient writers—occupies the summit of a hill about nine hundred feet above the road and nearly half-way between Guimarães and Braga. The top of this hill is covered with a number of structures, some round from fifteen to twenty feet across, and some square, carefully built of well-cut blocks of granite. The only opening is a door which is often surrounded by an architrave adorned with rough carving; the roofs seem to have been of wood and tiles.

Some, not noticing the three encircling walls and the well-cut water-channels, and thinking that the round buildings far exceeded the rectangular in number, have thought that they might have been intended for granaries where corn might be stored against a time of war. But it seems far more likely that Citania was a town placed on this high hill for safety. Though the remains show no other trace of Roman civilisation, one or two of the houses are inscribed with their owner's names in Roman character, and from coins found there they seem to have been inhabited long after the surrounding valleys had been subdued by the Roman arms, perhaps even after the great baths had been built not far off at the hot springs of Taipas. Uninfluenced by Rome, Citania was also untouched by Christianity, though it may have been inhabited after St. James—if indeed he ever preached in Bracara Augusta, now Braga—and his disciple São Pedro de Rates had begun their mission.

But if Citania knew nothing of Christianity there still remains one remarkable monument of the native religion. Among the ruins there long lay a huge thin slab of granite, now in the museum of Guimarães, which certainly has the appearance of having been a sacrificial stone. It is a rough pentagon with each side measuring about five feet. On one side, in the middle, a semicircular hollow has been cut out as if to leave room for the sacrificing priest, while on the surface of the stone a series of grooves has been cut, all draining to a hole near this hollow and arranged as if for a human body with outstretched legs and arms. The rest of the surface is covered with an intricate pattern like what may often be found on Celtic stones in Scotland. Besides this so-called Citania similar buildings have been found elsewhere, as at Sabrosa, also near Guimarães, but there the Roman influence seems usually to have been greater. (Fig. 1.)

The Romans began to occupy the Peninsula after the second Punic war, but the conquest of the west and north was not completed till the reign of Augustus more than two hundred years later. The Roman dominion over what is now Portugal lasted for over four hundred years, and the chief monument of their occupation is found in the language. More material memorials are the milestones which still stand in the Gerez, some tombstones, and some pavements and other remains at Condeixa a Velha, once Conimbriga, near Coimbra and at the place now called Troya, perhaps the original Cetobriga, on a sandbank opposite Setubal, a town whose founders were probably Phœnicians.

But more important than any of these is the temple at Evora, now without any reason called the temple of Diana. During the middle ages, crowned with battlements, with the spaces between the columns built up, it was later degraded by being turned into a slaughter-house, and was only cleared of such additions a few years since. Situated near the cathedral, almost on the highest part of the town, it stands on a terrace whose great retaining wall still shows the massiveness of Roman work.

Of the temple itself there remains about half of the podium, some eleven feet high, fourteen granite columns, twelve of which still retain their beautiful Corinthian capitals, and the architrave and part of the frieze resting on these twelve capitals. Everything is of granite except the capitals and bases which are of white marble; but instead of the orthodox twenty-four flutes each column has only twelve, with a distinctly unpleasing result. The temple seems to have been hexastyle peripteral, but all trace of the cella has disappeared. Nothing is known of the temple or who it was that built it, but in Roman times Evora was one of the chief cities of Lusitania; nothing else is left but the temple, for the aqueduct has been rebuilt and the so-called Tower of Sertorius was mediæval. Yet, although it may have less to show than Merida, once Augusta Emerita and the capital of the province, this temple is the best-preserved in the whole peninsula. (Fig. 2.)

Before the Roman dominion came to an end, in the first quarter of the fifth century, Christianity had been for some time firmly established. Religious intolerance also, which nearly a thousand years later made Spain the first home of the Inquisition, had already made itself manifest in the burning of the heretical Priscillianists by Idacius, whose see was at or near Lamego.

Soon, however, the orthodox were themselves to suffer, for the Vandals, the Goths, and the Suevi, who swept across the country from 417 A.D., were Arians, and it was only after many years had passed that the ruling Goths and Suevi were converted to the Catholic faith.

The Vandals soon passed on to Africa, leaving their name in Andalucia and the whole land to the Goths and Suevi, the

FIG. 1. House from Sabrosa. Now in Museum, Guimarães.

FIG. 2. Evora. Temple of "Diana."

Suevi at first occupying the whole of Portugal north of the Tagus as well as Galicia and part of Leon. Later they were expelled from the southern part of their dominion, but they as well as the Goths have left practically no mark on the country, for the church built at Oporto by the Suevic king, Theodomir, on his conversion to orthodoxy in 559, has been rebuilt in the eleventh or twelfth century.

These Germanic rulers seem never to have been popular with those they governed, so that when the great Moslem invasion crossed from Morocco in 711 and, defeating King Roderick at Guadalete near Cadiz, swept in an incredibly short time right up to the northern mountains, the whole country submitted with scarcely a struggle.

A few only of the Gothic nobles took refuge on the seaward slopes of the Cantabrian mountains in the Asturias and there made a successful stand, electing Don Pelayo as their king.

As time went on, Pelayo's descendants crossed the mountains, and taking Leon gradually extended their small kingdom southwards.

Meanwhile other independent counties or principalities further east were gradually spreading downwards. The nearest was Castile, so called from its border castles, then Navarre, then Aragon, and lastly the county of Barcelona or Cataluña.

Galicia, in the north-west corner, never having been thoroughly conquered by the invaders, was soon united with the Asturias and then with Leon. So all these Christian realms, Leon—including Galicia and Asturias—Castile, and Aragon, which was soon united to Cataluña, spread southwards, faster when the Moslems were weakened by division, slower when they had been united and strengthened by a fresh wave of fanaticism from Africa. Navarre alone was unable to grow, for the lower Ebro valley was won by the kings of Aragon, while Castile as she grew barred the way to the south-west.

At last in 1037 Fernando i. united Castile and Leon into one kingdom, extending from the sea in the north to the lower course of the Douro and to the mountains dividing the upper Douro from the Tagus valley in the south. Before Fernando died in 1065 he had extended his frontier on the west as far south as the Mondego, making Sesnando, a converted Moslem, count of this important marchland. Then followed a new division, for Castile went to King Sancho, Leon to Alfonso vi., and Galicia, including the two counties of Porto and of Coimbra, to Garcia.

Before long, however, Alfonso turned out his brothers and also extended his borders even to the Tagus by taking Toledo in 1085. But his successes roused the Moslem powers to fresh fanaticism. A new and stricter dynasty, the Almoravides,[2] arose in Africa and crossing the straits inflicted a crushing defeat on the Christians at Zalaca. In despair at this disaster and at the loss of Santarem and of Lisbon, Alfonso appealed to Christendom for help. Among those who came were Count Raymond of Toulouse, who was rewarded with the kingdom of Galicia and the hand of his daughter and heiress Urraca, and Count Henry of Burgundy, who was granted the counties of Porto and of Coimbra and who married another daughter of Alfonso's, Theresa.

This was really the first beginning of Portugal as an independent state; for Portugal, derived from two towns Portus and Cales, which lie opposite each other near the mouth of the Douro, was the name given to Henry's county. Henry did but little to make himself independent as he was usually away fighting elsewhere, but his widow Theresa refused to acknowledge her sister Urraca, now queen of Castile, Leon and Galicia, as her superior, called herself Infanta and behaved as if she was no one's vassal. Fortunately for her and her aims, Urraca was far too busy fighting with her second husband, the king of Aragon, to pay much attention to what was happening in the west, so that she had time to consolidate her power and to accustom her people to think of themselves as being not Galicians but Portuguese.

The breach with Galicia was increased by the favour which Theresa, after a time, began to show to her lover, Don Fernando Peres de Trava, a Galician noble, and by the grants of lands and of honours she made to him. This made her so unpopular that when Alfonso Raimundes, Urraca's son, attacked Theresa in 1127, made her acknowledge him as suzerain, and give up Tuy and Orense, Galician towns she had taken, the people rose against her and declared her son Affonso Henriques old enough to reign.

Then took place the famous submission of Egas Moniz, Affonso's governor, who induced the king to retire from the siege of Guimarães by promising that his pupil would agree to the terms forced on his mother. This, though but seventeen, Affonso refused to do, and next year raising an army he expelled his mother and Don Fernando, and after four wars with his cousin of Castile finally succeeded in maintaining his independence, and even in assuming the title of King.

These wars with Castile taught him at last that the true way to increase his realm was to leave Christian territory alone and to direct his energies southwards, gaining land only at the expense of the Moors.

So did the kingdom of Portugal come into existence, almost accidentally and without there being any division of race or of language between its inhabitants and those of Galicia.

The youngest of all the Peninsular kingdoms, it is the only one which still remains separate from the rest of the Spains, for when in 1580 union was forced on her by Philip ii., Portugal had had too glorious a past, and had become too different in language and in custom easily to submit to so undesired a union, while Spain, already suffering from coming weakness and decay, was not able long to hold her in such hated bondage.

It is not necessary here to tell the story of each of Affonso Henriques' descendants. He himself permanently extended the borders of his kingdom as far as the Tagus, and even raided the Moslem lands of the south as far as Ourique, beyond Beja. His son, Sancho i., finding the Moors too strong to make any permanent conquests beyond the Tagus, devoted himself chiefly—when not fighting with the king of Castile and Leon—to rebuilding and restoring the towns in Beira, and it was not till the reign of his grandson, Affonso iii., that the southern sea was reached by the taking of the Algarve in the middle of the thirteenth century.

Dom Diniz, Affonso iii.'s son, carried on the work of settling the country, building castles and planting pine-trees to stay the blowing sands along the west coast.

From that time on Portugal was able to hold her own, and was strong enough in 1387 to defeat the king of Castile at Aljubarrota when he tried to seize the throne in right of his wife, only child of the late Portuguese king, Fernando.

Under the House of Aviz, whose first king, João i., had been elected to repel this invasion, Portugal rose to the greatest heights of power and of wealth to which the country was ever to attain. The ceaseless efforts of Dom Henrique, the Navigator, the third son of Dom João, were crowned with success when Vasco da Gama landed at Calicut in May 1498, and when Pedro Alvares Cabral first saw the coasts of Brazil in 1500.

To-day one is too ready to forget that Portugal was the pioneer in geographical discovery, that the Portuguese were the first Westerns to reach Japan, and that, had João ii. listened to Columbus, it would have been to Portugal and not to Spain that he would have given a new world.

It was, too, under the House of Aviz that the greatest development in architecture took place, and that the only original and distinctive style of architecture was formed. That was also the time when the few good pictures which the country possesses were painted, and when much of the splendid church plate which still exists was wrought.

The sixty years of the Spanish captivity, as it was called, from 1580 to 1640, were naturally comparatively barren of all good work. After the restoration of peace and a revival of the Brazilian trade had brought back some of the wealth which the country had lost, the art of building had fallen so low that of the many churches rebuilt or altered during the eighteenth century there is scarcely one possessed of the slightest merit.

The most important events of the eighteenth century were the great earthquakes of 1755 and the ministry of the Marques de Pombal.

Soon after the beginning of the nineteenth century came the invasion led by Junot, 1807, the flight of the royal family to Brazil, and the Peninsular War. Terrible damage was done by the invaders, cart-loads of church plate were carried off, and many a monastery was sacked and burned. Peace had not long been restored when the struggle broke out between the constitutional party under Pedro of Brazil, who had resigned the throne of Portugal in favour of his daughter, Maria da Gloria, and the absolutists under Dom Miguel, his brother.

The civil war lasted for several years, from May 1828, when Dom Miguel, then regent for his niece, summoned the Cortes and caused himself to be elected king, till May 1834, when he was finally defeated at Evora Monte and forced to leave the country. The chief events of his usurpation were the siege of Oporto and the defeat of his fleet off Cape St. Vincent in 1833 by Captain Charles Napier, who fought for Dona Maria under the name of Carlos de Ponza.

One of the first acts of the constitutional Cortes was to suppress all the monasteries in the kingdom in 1834. At the same time the nunneries were forbidden to receive any new nuns, with the result that in many places the buildings have gradually fallen into decay, till the last surviving sister has died, solitary and old, and so at length set free her home to be turned to some public use.[3]

Since then the history of Portugal has been quiet and uneventful. Good roads have been made—but not always well kept up—railways have been built, and Lisbon, once known as the dirtiest of towns, has become one of the cleanest, with fine streets, electric lighting, a splendidly managed system of electric tramways, and with funiculars and lifts to connect the higher parts of the town with its busy centre.

It is not uninteresting to notice in how many small matters Portugal now differs from Spain. Portugal drinks tea, Spain chocolate or coffee; it lunches and dines early, Spain very late; its beds and pillows are very hard, in Spain they are much softer. Travelling too in Portugal is much pleasanter; as the country is so much smaller, trains leave at much more reasonable hours, run more frequently, and go more quickly. The inns also, even in small places, are, if not luxurious, usually quite clean with good food, and the landlord treats his guests with something more pleasing than that lofty condescension which is so noticeable in Spain.

Of the more distant countries of Europe, Portugal is now one of the easiest to reach. Forty-eight hours from Southampton in a boat bound for South America lands the traveller at Vigo, or three days at Lisbon, where the brilliant sun and blue sky, the judas-trees in the Avenida, the roses, the palms, and the sheets of bougainvillia, are such an unimaginable change from the cold March winds and pinched buds of England.

There is perhaps no country in Europe which has so interesting a flora, especially in spring. In March in the granite north the ground under the pine-trees is covered with the exquisite flowers of the narcissus triandrus,[4] while the wet water meadows are yellow with petticoat daffodils. Other daffodils too abound, but these are the commonest.

Later the granite rocks are hidden by great trees of white broom, while from north to south every wild piece of land is starred with the brilliant blue flowers of the lithospermum. There are also endless varieties of cistus, from the small yellow annual with rich brown heart to the large gum cistus that covers so much of the poor soil in the Alemtejo. These plains of the Alemtejo are supposed to be the least beautiful part of the country, but no one can cross them in April without being almost overcome with the beauty of the flowers, cistus, white, yellow, or red, tall white heaths, red heaths, blue lithospermum, yellow whin, and most brilliant of all the large pimpernel, whose blue flowers almost surpass the gentian. A little further on where there is less heath and cistus, tall yellow and blue Spanish irises stand up out of the grass, or there may be great heads of blue scilla peruviana or sheets of small iris of the brightest blue.

Indeed, sheets of brilliant colour are everywhere most wonderful. There may be acres of rich purple where the bugloss hides the grass, or of brilliant yellow where the large golden daisies grow thickly together, or of sky-blue where the convolvulus has smothered a field of oats.

Painting in Portugal.[5]

From various causes Portugal is far less rich in buildings of interest than is Spain. The earthquake has destroyed many, but more have perished through tasteless rebuilding during the eighteenth century when the country again regained a small part of the trade and wealth lost during the Spanish usurpation.

But if this is true of architecture, it is far more true of painting. During the most flourishing period of Spanish painting, the age of Velasquez and of Murillo, Portugal was, before 1640, a despised part of the kingdom, treated as a conquered province, while after the rebellion the long struggle, which lasted for twenty-eight years, was enough to prevent any of the arts from flourishing. Besides, many good pictures which once adorned the royal palaces of Portugal were carried off to Madrid by Philip or his successors.

And yet there are scattered about the country not a few paintings of considerable merit. Most of them have been terribly neglected, are very dirty, or hang where they can scarcely be seen, while little is really known about their painters.

From the time of Dom João i., whose daughter, Isabel, married Duke Philip early in the fifteenth century, the two courts of Portugal and of Burgundy had been closely united. Isabel sent an alabaster monument for the tomb of her father's great friend and companion, the Holy Constable, and one of bronze for that of her eldest brother; while as a member of the embassy which came to demand her hand, was J. van Eyck himself. However, if he painted anything in Portugal, it has now vanished.

There was also a great deal of trade with Antwerp where the Portuguese merchants had a lonja or exchange as early as 1386, and where a factory was established in 1503. With the heads of this factory, Francisco Brandão and Rodrigo Ruy de Almada, Albert Dürer was on friendly terms, sending them etchings and paintings in return for wine and southern rarities. He also drew the portrait of Damião de Goes, Dom Manoel's friend and chronicler.

It is natural enough, therefore, that Flanders should have had a great influence on Portuguese painting, and indeed practically all the pictures in the country are either by Netherland masters, painted at home and imported, or painted in Portugal by artists who had been attracted there by the fame of Dom Manoel's wealth and generosity, or else by Portuguese pupils sent to study in Flanders.

During the seventeenth century all memory of these painters had vanished. Looking at their work, the writers of that date were struck by what seemed to them, in their natural ignorance of Flemish art, a strange and peculiar style, and so attributed them all to a certain half-mythical painter of Vizeu called Vasco, or Grão Vasco, who is first mentioned in 1630.

Raczynski,[6] in his letters to the Berlin Academy, says that he had found Grão Vasco's birth in a register of Vizeu; but Vasco is not an uncommon name, and besides this child, Vasco Fernandes, was born in 1552—far too late to have painted any of the so-called Grão Vasco's pictures.

It is of course possible that some of the pictures now at Vizeu were the work of a man called Vasco, and one of those at Coimbra, in the sacristy of Santa Cruz, is signed Velascus—which is only the Spanish form of Vasco—so that the legendary personage may have been evolved from either or both of these, for it is scarcely possible that they can have been the same.

Turning now to some of the pictures themselves, there are thirteen representing scenes from the life of the Virgin in the archbishop's palace at Evora, which are said by Justi, a German critic, to be by Gerhard David. Twelve of these are in a very bad state of preservation, but one is still worthy of some admiration. In the centre sits the Virgin with the Child on her knee: four angels are in the air above her holding a wreath. On her right three angels are singing, and on her left one plays an organ while another behind blows the bellows. Below there are six other angels, three on each side with a lily between them, playing, those on the right on a violin, a flute, and a zither, those on the left on a harp, a triangle, and a guitar. Once part of the cathedral reredos, it was taken down when the new Capella Mor was built in the eighteenth century.

Another Netherlander who painted at Evora was Frey Carlos, who came to Espinheiro close by in 1507. Several of his works are in the Museum at Lisbon.[7]

When Dom Manoel was enriching the old Templar church at Thomar with gilding and with statues of saints, he also caused large paintings to be placed round the outer wall. Several still remain, but most have perished, either during the French invasion or during the eleven years after the expulsion of the monks in 1834 when the church stood open for any one to go in and do what harm he liked. Some also, including the 'Raising of Lazarus,' the 'Entry into Jerusalem,' the 'Resurrection,' and the 'Centurion,' are now in Lisbon. Four—the 'Nativity,' the 'Visit of the Magi,' the 'Annunciation,' and a 'Virgin and Child'—are known to have been given by Dom Manoel; twenty others, including the four now at Lisbon, are spoken of by Raczynski in 1843,[8] and some at least of these, as well as the angels holding the emblems of the Passion, who stand above the small arches of the inner octagon, may have been painted by Johannes Dralia of Bruges, who died and was buried at Thomar in 1504.[9]

Also at Thomar, but in the parish church of São João Baptista, are some pictures ascribed by Justi to a pupil of Quentin Matsys. Now it is known that a Portuguese called Eduard became a pupil of Matsys in 1504, and four years later a Vrejmeester of the guild. So perhaps they may be by this Eduard or by some fellow-pupil.

The Jesus Church at Setubal, built by Justa Rodrigues, Dom Manoel's nurse, has fifteen paintings in incongruous gilt frames and hung high up on the north wall of the church, which also have something of the same style.[10]

More interesting than these are two pictures in the sacristy of Santa Cruz at Coimbra, an 'Ecce Homo' and the 'Day of Pentecost.' It is the 'Pentecost' which is signed Velascus, and in it the Apostles in an inner room are seen through an arcade of three arches like a chapter-house entrance. Perhaps once part of the great reredos, this picture has suffered terribly from neglect; but it must once have been a fine work, and the way in which the Apostles in the inner room are separated by the arcade from the two spectators is particularly successful.

In Oporto there exists at least one good picture, 'The Fountain of Mercy,' now in the board-room of the Misericordia,[11] but painted to be the reredos of the chapel of São Thiago in the Sé where the brotherhood was founded by Dom Manoel in 1499. (Fig. 3.)

In the centre above, between St. John and the Virgin, stands a crucifix from which blood flows down to fill a white marble well.

Below, on one side there kneels Dom Manoel with his six sons—João, afterwards king; Luis, duke of Beja; Fernando, duke of Guarda; Affonso, afterwards archbishop of Lisbon, with his cardinal's hat; Henrique, later cardinal archbishop of Evora, and then king; and Duarte, duke of Guimarães and ancestor of the present ruling house of Braganza.

On the other side are Queen Dona Leonor,[12] granddaughter of Ferdinand and Isabella, Dom Manoel's third wife[13] and her two stepdaughters, Dona Isabel, the wife of Charles v. and mother of Philip ii., who through her claimed and won the throne of Portugal when his uncle, the cardinal king, died in 1580, and Dona Beatriz, who married Charles iii.. of Savoy.

The date of the picture is fixed as between 1518 when Dom Affonso, then aged nine, received his cardinal's hat, and 1521 when Dom Manoel died.[14]

Unfortunately the picture has been somewhat spoiled by restoration, but it is undoubtedly a very fine piece of work—especially the portraits below—and would be worthy of admiration anywhere, even in a country much richer in works of art.

It has of course been attributed to Grão Vasco, but it is quite different from either the Velascus pictures at Coimbra or the paintings at Vizeu; besides, some of the beautifully painted flowers, such as the columbines, which enrich the grass on which the royal persons kneel, are not Portuguese flowers, so that it is much more likely to have been the work of some one from Flanders.

Equally Flemish are the pictures at Vizeu, whether any of them be by the Grão Vasco or not. Tradition has it that he was born at a mill not far off, still called Moinho do Pintor, the Painter's Mill, and that Dom Manoel sent him to study in Italy. Now, wherever the painter of the Vizeu pictures had studied it can scarcely have been in Italy, as they are all surely much nearer to the Flemish than to any Italian school.

FIG. 3. The Fountain of Mercy. Misericordia, Oporto. From a photograph by E. Biel & Co., Oporto.

There are still in the precincts of the cathedral some thirty-one pictures of very varied merit, and not all by the same hand. Of these there are fourteen in the chapter-house, a room opening off the upper cloister. They are all scenes from the life of Our Lord from the Annunciation to the day of Pentecost. Larger than any of these is a damaged 'Crucifixion' in the Jesus Chapel under the chapter-house. The painting is full, perhaps too full, of movement and of figures. Besides the scenes usually portrayed in a picture of the Crucifixion, others are shown in the background, Judas hanging himself on one side, and Joseph of Arimathea and Nicodemus on the other, coming out from Jerusalem with their spices. Lastly, in the sacristy there are twelve small paintings of the Apostles and other saints of no great merit, and four large pictures, 'St. Sebastian,' the 'Day of Pentecost,' where the room is divided by three arches, with the Virgin and another saint in the centre, and six of the Apostles on each side; the 'Baptism of Our Lord,' and lastly 'St. Peter.' The first three are not very remarkable, but the 'St. Peter' is certainly one of the finest pictures in the country, and is indeed worthy of ranking among the great pictures of the world.[15] (Fig. 4.)

As in the 'Day of Pentecost' there is a triple division; St. Peter's throne being in the middle with an arch on each side open to show distant scenes. The throne seems to be of stone, with small boys and griffins holding shields charged with the Cross Keys on the arms. On the canopy two other shields supporting triple crowns flank an arch whose classic ornaments and large shell are more Italian than is any other part of the painting. On the throne sits St. Peter pontifically robed, and with the triple crown on his head. His right hand is raised in blessing, and in his left he holds one very long key while he keeps a book open upon his knee.

The cope is of splendid gold brocade of a fine Gothic pattern, with orfreys or borders richly embroidered with figures of saints, and is fastened in front by a great square gold and jewelled morse. All the draperies are very finely modelled and richly coloured, but finest of all is St. Peter's face, solemn and stern and yet kindly, without any of that pride and arrogance which would seem but natural to the wearer of such vestments; it is, with its grey hair and short grey beard, rather the face of the fisherman of Galilee than that of a Pope.

Through the arches to the right and left above a low wall are seen the beginning and the end of his ministry. On the one side he is leaving his boat and his nets to become a fisher of men, and on the other he kneels before the vision of Our Lord, when fleeing from Rome he met Him at the place now called 'Quo Vadis' on the Appian way, and so was turned back to meet his martyrdom.

Fortunately this painting has suffered from no restoration, and is still wonderfully clean, but the wood on which it is painted has split rather badly in places, one large crack running from top to bottom just beyond the throne on St. Peter's right.

This 'St. Peter,' then, is entirely Flemish in the painting of the drapery and of the scenes behind; especially of the turreted Gothic walls of Rome. The details of the throne may be classic, but French renaissance forms were first introduced into the country at Belem in 1517, just the time when the cathedral here was being built by Bishop Dom Diogo Ortiz de Vilhegas. This, and the other pictures in the sacristy, were doubtless once parts of the great reredos, which would not be put up till the church was quite finished, and so may not have been painted till some time after 1520, or even later. Already in 1522 much renaissance work was being done at Coimbra, not far off, so it is possible that the painter of these pictures may have adopted his classic detail from what he may have seen there.

It is worth noting, too, that preserved in the sacristy at Vizeu there is, or was,[16] a cope so like that worn by St. Peter, that the painting must almost certainly have been copied from it.

We may therefore conclude that these pictures are the work of some one who had indeed studied abroad, probably at Antwerp, but who worked at home.

Not only to paint religious pictures and portraits did Flemish artists come to Portugal. One at least, Antonio de

FIG. 4. St. Peter. In the Cathedral Sacristy. Vizeu.

Hollanda, was famous for his illuminations. He lived and worked at Evora, and is said by his son Francisco to have been the first in Portugal 'to make known a pleasing manner of painting in black and white, superior to all processes known in other countries.'[17]

When the convent of Thomar was being finished by Dom João iii., some large books were in November 1533 sent on a mule to Antonio at Evora to be illuminated. Two of these books were finished and paid for in February 1535, when he received 63795 or about £15. The books were bound at Evora for 4000 or sixteen shillings.

By the end of the next year a Psalter was finished which cost 54605 or £12, at the rate of 6000, £1, 6s. 8d. for each of four large headings, forty illuminated letters with vignettes at 2s. 2d. each, a hundred and fifteen without vignettes at fivepence-halfpenny, two hundred and three in red, gold, and blue at fourpence-farthing, eighty-four drawn in black at twopence, and 2846 small letters at the beginning of each verse at less than one farthing. Next March this Psalter was brought back to Thomar on a mule whose hire was two shillings and twopence—a sum small enough for a journey of well over a hundred miles,[18] but which may help us the better to estimate the value of the money paid to Antonio.[19]

Church Plate.

A very great part of the church plate of Portugal has long since disappeared, for few chapters had the foresight to hide all that was most valuable when Soult began his devastating march from the north, and so he and his men were able to encumber their retreat with cart-loads of the most beautiful gold and silver ornaments.

Yet a good deal has survived, either because it was hidden away as at Guimarães or at Coimbra—where it is said to have been only found lately—or because, as at Evora, it lay apart from the course of this famous plunderer.

The richest treasuries at the present day are those of Nossa Senhora da Oliveira at Guimarães, and of the Sés at Braga, at Coimbra, and at Evora.

A silver-gilt chalice and a pastoral staff of the twelfth century in the sacristy at Braga are among the oldest pieces of plate in the country. The chalice is about five inches high. The cup, ornamented with animals and leaves, stands on a plain base inscribed, 'In nme Dmi Menendus Gundisaluis de Tuda domna sum.' It is called the chalice of São Giraldo, and is supposed to have belonged to that saint, who as archbishop of Braga baptized Affonso Henriques.

The staff of copper-gilt is in the form of a snake with a cross in its mouth, and though almost certainly of the twelfth century is said to have been found in the tomb of Santo Ovidio, the third archbishop of the see.

Another very fine chalice of the same date is in the treasury at Coimbra. Here the round cup is enriched by an arcade, under each arch of which stands a saint, while on the base are leaves and medallions with angels. It is inscribed, 'Geda Menendis me fecit in onore sci. Michaelis e. mclxxxx.', that is A.D. 1152.

It was no doubt given by Dom Miguel, who ruled the see from 1162 to 1176 and who spent so much on the old cathedral and on its furniture. For him Master Ptolomeu made silver altar fronts, and the goldsmith Felix a jug and basin for the service of the altar. He also had a gold chalice made weighing 4 marks, probably the one made by Geda Menendis, and a gold cross to enclose some pieces of the Holy Sepulchre and two pieces of the True Cross.

At Guimarães the chalice of São Torquato is of the thirteenth century. The cup is quite plain and small, but on the wide-spreading base are eight enamels of Our Lady and of seven of the Apostles.

The finest of all the objects in the Guimarães treasury is the reredos, taken by Dom João i. from the Spanish king's tent after the victory of Aljubarrota, and one of the angels which once went with it.

The same king also gave to the small church of São Miguel a silver processional cross, all embossed with oak leaves, and ending in fleurs-de-lys, which rises from two superimposed octagons, covered with Gothic ornament.

Another beautiful cross now at Coimbra has a 'Virgin and Child' in the centre under a rich canopy, and enamels of the four Evangelists on the arms, while the rest of the surface including the foliated ends is covered with exquisitely pierced flowing tracery. (Fig. 5.)

Earlier are the treasures which once belonged the Queen St. Isabel who died in 1327, and which are still preserved at Coimbra. These include a beautiful and simple cross of agate and silver, a curious reliquary made of a branch of coral with silver mountings, her staff as abbess of St. Clara, shaped like the cross of an Eastern bishop, and with heads of animals at the ends of the arms, and a small ark-shaped reliquary of silver and coral now set on a high renaissance base.

But nearly all the surviving church plate dates from the time of Dom Manoel or his son.

To Braga Archbishop Diogo de Souza gave a splendid silver-gilt chalice in 1509. Here the cup is adorned above by six angels holding emblems of the Passion, and below by six others holding bells. Above them runs an inscription, Hic est calix sanguinis mei novi et eter. The stem is entirely covered with most elaborate canopy work, with six Apostles in niches, while on the base are five other Apostles in relief, the archbishop's arms, and six pieces of enamel.

Very similar is a splendid chalice in the Misericordia at Oporto, probably of about the same date, and two at Coimbra. In both of these the cup is embossed with angels and leafage—in one the angels hold bells—and the stem is covered with tabernacle work. On the base of the one is a pietà with mourning angels and other emblems of the Passion in relief, while that of the other is enriched with filigree work. (Fig. 6.)

Another at Guimarães given by Fernando Alvares is less well proportioned and less beautiful.

So far the architectural details of the chalices mentioned have been entirely national, but there is a custodia at Evora, whose interlacing canopy work seems to betray the influence of the Netherlands. The base of this custodia[20] or monstrance, in the shape of a chalice seems later than the upper part, which is surmounted by a rounded canopy whose hanging cusps and traceried panels strongly recall the Flemish work of the great reredos in the old cathedral at Coimbra.

Even more Flemish are a pastoral staff made for Cardinal Henrique, son of Dom Manoel and afterwards king, a monstrance or reliquary at Coimbra,[21] and another at Guimarães.[22]

Much splendid plate was also given to Santa Cruz at Coimbra by Dom Manoel, but all—candlesticks, lamps, crosses and a monstrance—have since vanished, sent to Gôa in India when the canons in the eighteenth century wanted something more fashionable.

Belem also possessed splendid treasures, among them a cross of silver filigree and jewels which is still preserved.

Much filigree work is still done in the north, where the young women invest their savings in great golden hearts or in beautiful earrings, though now bunches of coloured flowers on huge lockets of coppery gold are much more sought after.

Curiously, many of the most famous goldsmiths of the sixteenth century were Jews. Among them was the Vicente family, a member of which made a fine monstrance for Belem in 1505, and which, like other families, was expelled from Coimbra to Guimarães between the years 1532 and 1537, and doubtless wrought some of the beautiful plate for which the treasury of Nossa Senhora is famous.

The seventeenth century, besides smaller works, has left the great silver tomb of the Holy Queen St. Isabel in the new church of Santa Clara. Made by order of Bishop Dom Affonso de Castello Branco in 1614, it weighs over 170 lbs., has at the sides and ends Corinthian columns, leaving panels between them with beautifully chased framing, and a sloping top.

Later and less worthy of notice are the coffins of the two first sainted abbesses of the convent of Lorvão, near Coimbra, in which elaborate acanthus scrolls in silver are laid over red velvet.

Tile Work or Azulejos.

The Moors occupied most of what is now Portugal for a considerable length of time. The extreme north they held for rather less than two hundred years, the extreme south for more than five hundred. This occupation by a governing class, so different in religion, in race, and in customs from

FIG. 5. Chalice at Coimbra.

FIG. 5. Cross at Coimbra.

FIG. 7. Monstrance at Coimbra.

those they ruled, has naturally had a strong influence, not only on the language of Portugal, but also on the art. Though there survive no important Moorish buildings dating from before the re-conquest—for the so-called mosque at Cintra is certainly a small Christian church—many were built after it for Christians by Moorish workmen.

These, as well as the Arab ceilings, or those derived therefrom, will be described later, but here must be mentioned the tilework, the most universally distributed legacy of the Eastern people who once held the land. There is scarcely a church, certainly scarcely one of any size or importance which even in the far north has not some lining or dado of tiles, while others are entirely covered with them from floor to ceiling or vault.

The word azulejo applied to these tiles is derived from the Arabic azzallaja or azulaich, meaning smooth, or else through the Arabic from a Low Latin word azuroticus used by a Gaulish writer of the fifth century to describe mosaic[23] and not from the word azul or blue. At first each different piece or colour in a geometric pattern was cut before firing to the shape required, and the many different pieces when coloured and fired were put together so as to form a regular mosaic. This method of making tiles, though soon given up in most places as being too troublesome, is still employed at Tetuan in Morocco, where in caves near the town the whole process may still be seen; for there the mixing of the clay, the cutting out of the small pieces, the colouring and the firing are still carried on in the old primitive and traditional manner.[24]

Elsewhere, though similar designs long continued to be used in Spain and Portugal, and are still used in Morocco, the tiles were all made square, each tile usually forming one quarter of the pattern. In them the pattern was formed by lines slightly raised above the surface of the tile so that there was no danger during the firing of the colour running beyond the place it was intended to occupy.

For a long time, indeed right up to the end of the fifteenth century, scarcely anything but Moorish geometric patterns seem to have been used. Then with the renaissance their place was taken by other patterns of infinite variety; some have octagons with classic mouldings represented in colour, surrounding radiating green and blue leaves;[25] some more strictly classical are not unlike Italian patterns; some again are more naturalistic, while in others the pattern, though not of the old geometric form, is still Moorish in design.

Together with the older tiles of Moorish pattern plain tiles were often made in which each separate tile, usually square, but at times rhomboidal or oblong, was of one colour, and such tiles were often used from quite early times down at least to the end of the seventeenth century.

More restricted in use were the beautiful embossed tiles found in the palace at Cintra, in which each has on it a raised green vine-leaf and tendril, or more rarely a dark bunch of grapes.

Towards the middle of the sixteenth century the Moorish technique of tilemaking, with its patterns marked off by raised edges, began to go out of fashion, and instead the patterns were outlined in dark blue and painted on to flat tiles. About the same time large pictures painted on tiles came into use, at first, as in the work of Francisco de Mattos, with scenes more or less in their natural colours, and later in the second half of the seventeenth century, and in the beginning of the eighteenth in blue on a white ground.

Towards the end of the eighteenth century blue seems to have usurped the place of all other colours, and from that time, especially in or near Oporto, tiles were used to mask all the exterior rubble walls of houses and churches, even spires or bulbous domes being sometimes so covered.

Now in Oporto nearly all the houses are so covered, usually with blue-and-white tiles, though on the more modern they may be embossed and pale green or yellow, sometimes even brown. But all the tiles from the beginning of the nineteenth century to the present day are marked by the poverty of the colour and of the pattern, and still more by the hard shiny glaze, which may be technically more perfect, but is infinitely inferior in beauty to the duller and softer glaze of the previous centuries.

When square tiles were used they were throughout singularly uniform in size, being a little below or a little above five inches square. The ground is always white with a slightly blueish tinge. In the earlier tiles of Arab pattern the colours are blue, green, and brown; very rarely, and that in some of the oldest tiles, the pattern may be in black; yellow is scarcely ever seen. In those of Moorish technique but Western pattern, the most usual colours are blue, green, yellow and, more rarely, brown.

Later still in the flat tiles scarcely anything but blue and yellow are used, though the blue and the yellow may be of two shades, light and dark, golden and orange. Brown and green have almost disappeared, and, as was said above, so did yellow at last, leaving nothing but blue and white.

Although there are few buildings which do not possess some tiles, the oldest, those of Moorish design, are rare, and, the best collection is to be found in the old palace at Cintra, of which the greater part was built by Dom João i. towards the end of the fourteenth and the beginning of the fifteenth century.

Formerly all the piers of the old cathedral of Coimbra were covered with such tiles, but they have lately been swept away, and only those left which line the aisle walls.

At Cintra there are a few which it is supposed may have belonged to the palace of the Walis, or perhaps it would be safer to say to the palace before it was rebuilt by Dom João. These are found round a door leading out of a small room, called from the mermaids on the ceiling the Sala das Sereias. The pointed door is enclosed in a square frame by a band of narrow dark and light tiles with white squares between, arranged in checks, while in the spandrels is a very beautiful arabesque pattern in black on a white ground.

Of slightly later date are the azulejos of the so-called Sala dos Arabes, where the walls to a height of about six feet are lined with blue, green, and white tiles, the green being square and the other rhomboidal. Over the doors, which are pointed, a square framing is carried up, with tiles of various patterns in the spandrels, and above these frames, as round the whole walls, runs a very beautiful cresting two tiles high. On the lower row are interlacing semicircles in high relief forming foliated cusps and painted blue. In the spandrels formed by the interlacing of the semicircles are three green leaves growing out from a brown flower; in short the design is exactly like a Gothic corbel table such as was used on Dom João's church at Batalha turned upside down, and so probably dates from his time. On the second row of tiles there are alternately a tall blue fleur-de-lys with a yellow centre, and a lower bunch of leaves, three blue at the top and one yellow on each side; the ground throughout is white. (Fig. 8.)

Also of Dom João's time are the tiles in the Sala das Pegas, where they are of the regular Moorish pattern—blue, green and brown on a white ground, and where four go to make up the pattern. The cresting of green scrolls and vases is much later.

Judging from the cresting in the dining-room or Sala de Jantar, where, except that the ground is brown relieved by large white stars, and that the cusps are green and not blue, the design is exactly the same as in the Sala dos Arabes, the tiles there must be at least as old as these crestings; for though older tiles might be given a more modern cresting, the reverse is hardly likely to occur, and if as old as the crestings they may possibly belong to Dom João's time, or at least to the middle of the fifteenth century. (Fig. 9.)

These dining-room tiles, and also those in the neighbouring Sala das Sereias, are among the most beautiful in the palace. The ground is as usual white, and on each is embossed a beautiful green vine-leaf with branches and tendril. Tiles similar, but with a bunch of grapes added, line part of the stair in the picturesque little Pateo de Diana near at hand, and form the top of the back of the tiled bench and throne in the Sala do Conselho, once an open veranda. Most of this bench is covered with tiles of Moorish design, but on the front each is stamped with an armillary sphere in which the axis is yellow, the lines of the equator and tropics green, and the rest blue. These one would certainly take to be of Dom Manoel's time, for the armillary sphere was his emblem, but they are said to be older.

Most of the floor tiles are of unglazed red, except some in the chapel, which are supposed to have formed the paving of the original mosque, and some in an upper room, worn smooth by the feet of Dom Affonso vi., who was imprisoned there for many a year in the seventeenth century.

When Dom Manoel was making his great addition to the palace in the early years of the sixteenth century he lined the walls of the Sala dos Cysnes with tiles forming a check of green and white. These are carried up over the doors and windows, and in places have a curious cresting of green cones like Moorish battlements, and of castles.