Museum Tour - Centro de Interpretação e Museus Virtuais

Transcrição

MUSEU DOS BISCAINHOS
Museum Tour
Journey into the past
Within the programme designed for the
Baroque house, the palace is organised
on two, perfectly defined, levels: the
functional ground floor with the servant
areas and the main floor and above with
the living and entertaining areas.
17
1ST FLOOR
Lobby and Staircase
18
19
Lobby and Staircase
Representation and Power
With its character of representing the power of the
family that lived and was reflected in the house, the
Lobby imposes itself as a stately entrance and
represents a curious survivor of the inner courtyard
where carriages would once have entered. With its
box, dating from the 18th century and
entirely stone structure, with the exception of the
covered with leather panels painted dur-
wooden ceiling, the design is one of a majestic arcade.
ing a later period, and upholstered inside
with red damask, a fabric much prized
during the era. This would have been
used to transport one person, generally
a lady or cleric, and carried on wooden
The space incorporates five granite
including tricorn hat, and are bent over
poles by two male bearers. There is also
sculptures, characteristic “welcoming
in a courteous welcoming bow.
a litter from the 19th century which is
figures” who receive visitors, in a style
very typical of the age.
used to transport two people sitting fac-
embellishment and, simultaneously, to
ing each other and carried by mules led
archer in Roman costume, and the two
prevent the horses pulling the car-
by a postilion (lackey).
at the sides, depicting native Indians
riages, which entered to drop off their
(Amerindians?) whose position, in typi-
passengers next to the arches leading
were also very common sights on the
cal Baroque fashion, suggests a trium-
to the stairs up to the main floor, from
city streets, while stagecoaches and
phant blowing of horns, is presumably
losing their footing. The iron hoops
mules would have been used for the diffi-
from the period when the house was
inserted into the pilasters would have
cult business of travelling between urban
extended, by order of Dean D. Fran-
been used to tie up the horses.
areas, given the poor state of the roads.
cisco Pereira da Silva, in the second
decade of the 18th century.
The two others11 that alternate with
Small chair. Portugal. 18th
century (2nd half). Gilded
and silver‑plated wood,
damask and polychrome
leather. Height 141 x Width
72 x Depth 245 cm. Inv.
176 MDS.
20
similarly built but which would have been
ric designs for the dual purposes of
The central statue, representing an
ABOVE
The floor is engraved with geomet-
The hallway from the lobby to the
cloister on the right was originally distinguished by a portico with pseudo-Solo-
these, of a later and palatial appear-
monic columns on either side of the door.
ance, represent doormen or pages
Forms of transport that were com-
dressed in 18th century costume,
Carriages and two-wheeled chaises
mon during the period because they
ABOVE LEFT
Staircase. Partial view.
ABOVE RIGHT
Floor. Detail. Granite.
were easy to navigate around the narrow
city streets can be seen on display: a palanquin, consisting of a carved wooden
21
ABOVE
RIGHT
Azulejo (tile) panel.
António Vital Rifarto
(attrib.). Portugal.
18th century (1st half).
Height 280 x Length
188 cm.
Azulejo (tile) panel.
António Vital Rifarto
(attrib.). Portugal. 18th
century (1st half).
Height 176 x Length 562
cm. On the floor, an iron
shoe scraper.
The Staircase establishes the con-
upper ornamentation of drapery and
nection between the two areas of the
garlanded flowers.
palace and in it is defined the strong
Doors and windows open onto the
contrast between the plainness of the
Staircase, marking the division be-
ground floor and the luminous radiance
tween the two areas, the main floor and
of the blue and white azulejo (tile) pan-
the ground floor, and, simultaneously,
els that line the walls and accompany
accentuating the theatricalised and
you as you climb the stairs.
ostentatious appearance of the whole,
Dating from the first half of the
redolent of the Baroque mentality.
18th century and corresponding to the
Finally, two iron shoe scrapers can
Joanine period, the azulejos (tiles) are
be seen on the ground beside the two
the work of António Vital Rifarto. The
entrance doors on the main floor where
subject matter – mythology, exoti-
visitors would have cleaned their shoes
cism (Orientals wearing turbans) and
before entering the house’s living area.
gallantry – appear between drawings
of pilasters surmounted by urns, with
RIGHT PAGE
Welcoming figure: archer.
Sculpture. Portugal (Braga?).
18th century (1st half).
Granite. Height 135 cm.
22
23
2ND FLOOR
Entrance Hall
24
25
Entrance Hall
LEFT
Ornamental ceiling. Detail.
Classical effigy. Painting and
tempera on stucco.
Etiquette and Adornment
The Entrance Hall is consistent with
the etiquette of the era, which required
visitors to wait until being taken by
pages or foot servants through to meet
the lords of the house.
Cyrillo Volkmar Machado comments in
his Memórias on the arrival of the Italian João Grossi to the board of the Aula
As regards the contents of the hall, at the
heraldic representation and an owl,
de Estuques e Desenhos in Lisbon, cre-
edges can be seen three benches and
among other ornamental motifs. Next
ated by the Marquis of Pombal in 1764.
a box seat – the latter functioning both
to them is a pair of 17th century tall tin
In the Minho, in 1785, Friar Bernardo da
as a seat and a display stand for objects
candlesticks.
Esperança, a Benedictine and future
– and, in the centre, a decorative ebony
The room has a small lantern and a
table with turned legs and boards and
ceiling decorated with artistic stucco,
ferred to the poor state of the stucco at
brass embellishments, then known as
displaying festoons of laurel leaves that
the Monastery do Pombeiro. In Braga,
“gilded bronze”, all from the 17th and
are associated with the paintings of clas-
the ceiling of the main altar at the
18th centuries and made in Portugal.
sical effigies adorned with loosely-tied
Church dos Congregados contained
knots. The base of the skylight is deco-
the only surviving example of rococo
rated with a frieze of acanthus leaves.
stucco in the city.
12
Arranged on the table are two blue
and white Portuguese ceramic plates
ABOVE
Plate. Ceramic. Portugal. 17th
century. Height 6.5 x Ø 33.8
cm. Inv. 228 MDS.
Abbot Head of the Congregation, re-
from the sixteen hundreds, demon-
The building contains a series of
strating the decorative influence of
examples of artistic stucco which are
the architects and furniture design-
In Portugal, the stucco designs of
oriental porcelain. In the centre of one
of great interest for the recognition of
ers working for the Scottish brothers
can be seen a boar, an animal hunted
the importance this type of decoration
Robert and James Adam influenced
at a time when this practice was very
assumed in Portuguese interiors from
above all the northern region, and were
popular, while the other exhibits a
the 18th century onwards.
neoclassical in style.
ABOVE
Plate. Ceramic. Portugal. 17th
century. Height 6.7 Ø 41.5 cm.
Inv. 630 MB.
26
27
2ND FLOOR
Great Hall
28
29
Great Hall
Opulence and Pomp
The palace’s Great Hall brings together all the
features that characterised the Baroque style
in Braga, azulejos (tiles), woodcarving and
painting, and constitutes a notable example of a
civil interior from the north of the country from
the period in question.
The palace’s Great Hall brings together
all the features that characterised
ABOVE
ABOVE
D. Pedro III. Painting. 18th cen‑
tury. Oil on canvas. Height 94.5 x
Width 74 cm. Inv. 177 MDS.
D. João V. Painting. 18th century.
Oil on canvas. Height 103 x
Width 79 cm. Inv. 197 MDS.
the Baroque style in Braga, azulejos
17th century azulejo (tile) making
(tiles), woodcarving and painting, and
reflected Portugal’s fascination with the
beautiful ladies stand out, dressed in
of vegetal scrolls, children (putti) and
constitutes a notable example of a civil
delicate Chinese porcelain exported to
the manner of the seventeen hundreds
fluttering birds.
interior from the north of the country
Europe by sea via Portugal’s contacts
and sitting in gardens, while next to
from the period in question.
with the Orient. It should also be added
them can be seen statues, mythological
mon feature in paintings of this type
that the attraction for walls fully decorat-
beings, festoons and garlands of flow-
in Lisbon, the figures are beautifully
dour and light-hearted style, was com-
ed with azulejos (tiles) can be explained
ers, tablets with Latin captions and oth-
drawn and the whole corresponds to
missioned by Dean D. Francisco Pereira
by Portugal’s proximity to the rich Arabic
er Baroque ornamental motifs, forming
the ornamental effects of great impact
da Silva in the first quarter of the 18th
culture of the Iberian Peninsular.
at all four corners ascending flights of
so beloved of this era.
The room, with all its pomp, splen-
century as part of the work to enlarge
and enhance the family residence.
Standing out is the ornamental oil
stairs with balustrades. Two of the fe-
Although not illusionist, a com-
On the walls hang canvas oil
painting that covers the chestnut wood
male figures can be seen holding tablets
paintings portraying members of the
ceiling with a vault design created by
indicating the year in which the painting
Portuguese royal family from the 18th
panels, attributed 13 to the influence of
the Oporto painter Manuel Furtado de
was executed, “A/NNO/DE”,“1724”. The
century, namely D. João V, the palatial
P.M.P., and date from the first quarter
Mendonça,14 or a Braga school inspired
background consists of a landscape of
king who raised the Court and Church
of the seventeen hundreds. The subject
by him. The ceiling commemorates
trees, blue sky and clouds.
to their fullest splendour, D. Pedro III,
matter is essentially moments of gal-
and pays homage to a family ancestor
lantry in gardens and landcapes, horse-
who once inhabited the house, the be-
position, suspended in the same sky,
riding and hunting scenes, references
atified Miguel de Carvalho, a Jesuit who
the depiction of the bearded Jesuit,
to the preoccupations of the nobility of
was martyred at the stake in Japan.
his raised arms tied to a stake and sur-
The walls are lined with azulejo (tile)
the era.
It should be noted that the blue and
white colour scheme that so influenced
30
15
We can see in the centre of the com-
Above the cornice, a continuous
rounded by men and flames. The scene
composition spreads all the way around
is framed by a typically Baroque border
the oval edge of the vault in which eight
consort of Queen D. Maria I, and her
FOLLOWING PAGE
Ornamental ceiling. Partial view.
Manuel Furtado de Mendonça
(attrib.). Portugal. 1724.
Oil painting on wood and
gilded carving.
31
32
33
ABOVE
Azulejo (tile) panel. P.M.P.
(attrib.). Portugal. 18th
century (1st quarter).
Height 164 x Length 381 cm.
son D. José, Prince of Beira and Brazil,
rare beauty; before them swaggered
who died prematurely. The fourth por-
the elegant men of the age, attired in
trait is of a female figure, conceivably
majestic embroidered tailcoats and
identified as the wife of the latter, the
powdered leonine wigs, with palatial ra-
Infanta D. Maria Francisca Benedita.
piers at their side and frilly pleated shirt
These pictures give us an insight into
fronts, puffing out their chests with
the sumptuosness of royal male and fe-
ruffles of the finest lace, on which sat
male costume in 18th century Portugal,
gleaming emerald brooches; grave and
characterised by the quality of the fab-
measured pavanes and delicate minu-
rics, in silk, brocade, velvet and ermine,
ets were danced to the doleful sound of
and the richness of the jewels.
harpsichords inlaid with ivory.”16
With regard to another seigneurial
house, Luís Leite Ataíde transports us
into the atmosphere of sociability that
existed in these houses from the mid18th century onwards: “In the rooms
... beautiful ladies exhibited themselves in balloon dresses, whose silk
was speckled with graceful bouquets
intermingled with sparkling jewels of
34
RIGHT
Azulejo (tile) panel. Detail.
P.M.P. (attrib.). Portugal.
18th century (1st quarter).
Height 170 x Length 950 cm
(whole panel).
35
2ND FLOOR
Oratory
36
37
Oratory
Intimacy and Devotion
BOTTOM
RIGHT
Good Shepherd. Sculpture.
India. 17th century. Ivory.
Height 30 x Width 14 cm.
Inv. 264 MDS.
Standing Crucifix.
Sculpture. India. 18th
century. Ivory and wood.
Inv. 710 (b) MB.
There would have been religious iconography
spread throughout the rooms of homes, while
oratories, areas dedicated to prayer and
religious practices, were commonplace.
From the 17th century, the chapel be-
on pedestals, adorned with a vegetal
Also from India is na 18th century
came an integral part of the Portuguese
festoon and exotic birds.
Standing Crucifix, with the Christ fig-
seigneurial house. This was associated
Inside the cupboard can be seen
ure in undulating silk, sculpted in the
with a period of intense religiousness in
religious sculptures placed at ascend-
same material, on a hardwood cross
the society of the era, but also with the
ing levels structured like an altar, with
and with ivory inlays and decorations,
habit of restricting women’s place to the
an Indo-Portuguese image, a Good
of which a winged cherub at the base
inside of the home.
Shepherd from the 17th century,
of the cross stands out. Also originat-
made entirely from ivory and reveal-
ing from the Orient is a small “Salvator
area reserved for devotion. Opposite
ing traces of original polychrome. This
Mundi” image of the Baby Jesus.
the door stands a Baroque-style ora-
is a very special icon as it solidifies
tory chest, japanned in an exuberant
the interpenetration of two religions,
corresponded to the art work pro-
colour scheme of red, gold and green
Christianity and Buddhism, through
duced in India, Hindustan, and was
and exhibiting chinoiserie motifs.
We find ourselves in the Oratory, an
Indo-Portuguese religious imagery
the representation of a youthful-look-
especially prized by the Portuguese
The doors are decorated internally
ing European Christ with curly hair in
nobility and clergy.
with paintings of flower-filled basins
meditational pose, features common
17
to representations of Buddha.
Two candlestick angels, typically
Baroque, in padded wood, illuminate
ABOVE
Armchair. Portugal. 17th
century. Wood, leather and
gilded brass. Height 141 x
Width 64.5 x Depth 50 cm.
Inv. 83 MB.
38
39
RIGHT
BOTTOM
St. Anthony. Sculpture.
Portugal. 18th century.
Gilded, padded and
polychrome wood and
silver (resplendor). Height
88 x Width 35.8 cm.
Inv. 709 (a) MB.
Chasuble. Italy (fabric)/
Flanders (embroidery).
15th century (fabric)/16th
century (embroidery). Velvet,
polychrome silk thread, gilded
and silver-plated laminated
thread. Height 118 x Width 75
cm (back). Inv. 1/87.
the inside of the altar, where an ivory
sides. At the back of the table, stand a
chaplet can also be seen and some
pair of 17th century tin candlesticks.
Qing Dynasty Chinese polychrome porcelain vases from the 18th century.
Exhibited in the room is a valuable
vestment, a chasuble whose 15th cen-
On the right as you enter, protected
tury Italian fabric is embellished with
by the seventeenth century Portuguese
Flemish embroidery from the follow-
painting Our Lady of the Conception
ing century. 18
and the Baby Jesus stands another
We can also see a leather armchair
altar bedecked in velvet brocade with a
with a lady motif on the backrest. In the
guardian angel in the centre and an im-
Iberian Peninsula, the Arabic influence
age of St. Barbara in padded wood and
stimulated the development of leather
missal printed in Antwerp in 1751 on the
art, which reached great heights during
the 17th and 18th centuries.
In Portugal, leather work achieved a
ABOVE
Baby Jesus “Salvator
Mundi”. Sculpture. India.
17th century. Ivory. Height
18 cm. Inv. 400 MB.
very high level of skill and refinement.
On the left as you enter, and hung on
of “St. Anthony” from the seventeen
Once prepared, the hide was essen-
the wall, is an oil painting on board
hundreds, a pair of tin candlesticks
tially applied to pieces of furniture, and
representing St. Martinho offering his
from the 17th century and two Qing
in particular chairs.
cape to a beggar. On the same side is a
Dynasty polychrome vases, examples
wooden bench or table with a smooth
of Chinese export porcelain, from the
um’s rooms are different styles of chair
top and turned legs from the 17th
following century.
dating from the 17th century.
century. On this stands a padded figure
Distributed throughout the muse-
40
41
2ND FLOOR
Dais Room
42
43
Dais Room
RIGHT
Obedience and Confinement
Contador de estrado (dais
cabinet). India. 17th cen‑
tury. Teak, sisso wood and
ivory. Height 17.9 x Width
24.8 x Depth 18.4 cm.
Inv. 316 MB.
“The convent grill and the blinds
of private houses constituted a
(woman’s) means of contact with
the outside world.” 19
Let us now delve a little into the domestic world of women during the 17th century and the early years of the following
century. For socio-cultural reasons that
ABOVE
Bottle. China. Ming
Dynasty. Porcelain.
Height 33.5 x Ø 11.4 cm.
Inv. 164 MB.
are predominantly Moorish in origin
In Portuguese homes, the lady of
a woman, is depicted sitting on a richly
– given the long contact with Arabic
the house and all the other women
furnished estrado (dais) with the Arch-
peninsular culture – but also stimu-
(daughters, family members, servants
angel Gabriel positioned on the outside.
lated by an ancestral Judaeo-Christian
and slaves) would pass the day sitting
vision that relegated the woman to a life
cross-legged on a estrado (dais) 20
found in the room in the central rug-
of domestic confinement and a posi-
weaving, embroidering and talking.
covered estrado (dais) with its small
Reference to this tradition can be
tion of inferiority, consecrated in law,
Sitting on fine carpets, they would
Portuguese noblewomen up until the
be surrounded by beautiful cushions
above on which resides an Indo-Por-
18th century lived cloistered within the
made from luxurious fabrics or painted
tuguese contador de estrado (dais
home or convent.
leather tapestries and by other elegant
cabinet) from the 17th century, inlaid
objects. Bufetes (tables), contadores
with teak, sisso and ivory and a Ming
of women sitting cross-legged on the
(multi-drawer cabinets) and writing
Dynasty cup.
floor or on a low platform called a
desks known as estrados (daises),
estrado (dais) in the oriental fashion
whose dimensions were adapted to suit
damask cushions, a Ming Dynasty Chi-
had persisted in Portugal. The tradition
the position of a woman when sitting,
nese pot and a brass and wood censer
continued to exist until the beginning of
are examples of this age-old custom.
or thurible on which aromatic herbs
Since the Middle Ages, the habit
the 19th century.
Illustrating this custom, on the far
wall as you enter is a Mannerist-style
bufete (table) of the type described
Also visible on the structure are two
such as rosemary and lavender would
have been burnt over embers.
Portuguese painting dating from the
ABOVE
Cup. China. Ming Dynas‑
ty. Porcelain. Height 11 x Ø
22.5 cm. Inv. 2273 MB.
44
17th century depicting the “Annunciation of the Virgin” in which Our Lady, as
45
RIGHT
St. Anthony with the Baby Jesus.
Painting. Portugal.
17th century. Oil on board.
Inv. 1942 MB.
ABOVE
Houses were furnished with oriental
stimulated by Vasco da Gama’s discov-
damask bedspread in the style of the
carpets of Persian, Turkish and Indian
ery of the maritime route to the East.
era, stands out.
provenance, 21 though reference
The objects contained in the room refer
should also be made to the Hispano-
to connections with India (Indo-Portu-
cal of the ostentation characteristic
Moorish wares from the cities of
guese furniture), China (Ming Dynasty
of the period, are mall Ming Dynasty
Alcaraz and Cuenca.
white and blue ceramics) and Japan
Chinese plates, blue and white Dutch
(japanned furniture).
earthenware, 17th century Portuguese
By the end of the 16th century,
22
carpet making was already underway
By the walls are pieces of japanned
Displayed in the dresser, and typi-
plates and an 18th century Portuguese
in the Portuguese town of Arraiolos,
furniture from the 18th century that
Baroque silver salver, very typical of
presumably of national origins, inspired
attempt to imitate the stunning lacquer
Portuguese homes.
by foreign styles then found in the
effects, adorned with polychrome,
country, and which, from the second
combining gold with red or green.
remaining paintings reveals, among
half of the 17th century, expanded
Looking from left to right, these consist
others, a work entitled Still Life, pre-
to supply the luxurious homes of the
of a grandfather clock, a dresser and a
sumably by the Flemish School and
clergy and nobility.
contador (cabinet).
from the 17th century, containing a
Evident throughout the room is the
Portuguese contact with the Orient,
46
Before we leave, a glance at the
Around the room, for decorative
whole set of symbols pertaining to this
purposes, are arranged luxury objects,
type of theme, and St. Anthony and the
of which a 17th century Indo-Portu-
Child, which was produced in Portugal
guese writing desk, associated with
and reveals the influence of the work of
which is a Ming Dynasty ceramic bottle,
Josefa of Óbidos.
positioned on a table covered with a
Still Life. Painting. Flanders
(?). 17th century. Oil on
canvas. Height 69,6 x Width
93 cm. Inv. 186 MDS.
ABOVE
Pot. Ceramic. China.
Ming Dynasty. Height 28 x
Ø 15.5 cm. Inv. 17 MB.
47
2ND FLOOR
Music and
Games Room
48
49
Music and Games Room
Sensibility and Sociability
Social relations in Portugal underwent a profound change,
particularly from the mid-18th century onwards, for reasons
that can be explained by the opportune attempts of D. João
V (1706-50) to modernise in the first half of the century.
Following the French courtly model, efforts were made to
create new social habits that freed Portuguese women from
the archaic Moorish customs to which they were subject.
Besides the public feasts that char-
The atmosphere is typically palacial.
During the 18th century, the Iberian
acterised the Baroque period, social
Reference is to be made to two pianos,
Peninsula was a fashionable tourist
co-fraternisation invaded the home,
in particular the table piano, placed
destination. Travelling at the time was
initiating an unstoppable process that
near the entrance, from the late 18th-
seen as an educational pastime and a
transformed habits and attitudes.
early 19th century.
form of personal development, and was
From that point onwards, social get
Vase (pair). From the dinner
service commissioned by
the 5th Marquis of Marial‑
va. China. Qing Dynasty.
Qianlong Kingdom. 1775.
Porcelain. Height 21.5 x
Width 18 cm. Inv. 159 MB
and 160 MB.
50
only possible for a markedly cosmo-
European paintings, of which Our Lady,
politan aristocratic elite. Numbered
habits of the aristocracy and rising
The Child and St. John the Baptist and
among these travellers were noble-
bourgeoisie. This socializing, which
Solomon with the Head of St. John the
men, scholars and scientists, the latter
expressed itself through the manifest
Baptist, both on the right, stand out. On
motivated by cultural reasons, but also
presence of women, became associ-
the same wall, and also of note, is the
adventurers who published tales about
ated with dancing, music and games, of
later oval portrait of Queen D. Maria I
their time in Portugal.
which cards was the most popular.
(1777-1816).
The room that has always been the
ABOVE
On the walls hang 17th century
togethers began to form part of the
The furniture on view is Portuguese
Carl Ruders, a Swede who spent
some time in Portugal at the end of
Music Room since the house was built,
and predominantly from the 18th centu-
the 18th century, wrote: “Every night
documented by the presence of musical
ry, with the exception of the writing desk
we were invited to a soirée – as these
motifs on the ceiling stucco, and whose
and ventó (cabinet), of Indo-Portuguese
neoclassical decoration is Adam-influ-
manufacture and from the 17th century,
enced, 23 would have been the stage for
which are arranged each to one side on
countless social get togethers.
the damask-decorated tables.
ABOVE
Solomon with the head
of St. John the Baptist.
Painting. Europe. 17th
century. Oil on canvas.
Height 114. 7 x Width 173.5
cm. Inv. 180 MDS.
51
BOTTOM
BOTTOM
RIGHT
Ventó (cabinet). India. 17th
century. Teak, sisso wood
and ivory. Height 38.4 x
Width 30.8 x Circum. 41.2
cm. Inv. 89 MB.
Writing desk. India. 17th
century. Teak, ebony, ivory
and gilded brass. Height 33
x Width 45.5 x Depth 35.5
cm. Inv. 88 MB.
Tray. Decoration inspired
by an engraving by
Moreau Le Jeune. China.
Qing Dunasty. Qianlong
Kingdom. Circa 17601780. Porcelain. Height 3
x Width 23 x Length 27.9
cm. Inv. 222 MB.
The spread of exotic drinks like tea, 26
from whose windows one could see a
Of this collection, of particular note
coffee and chocolate altered eat-
broad stretch of the Tagus.”
are the pieces of different services
meetings used to be called – where
one would converse and play whist,
24
27 28
tresillo and Boston whist. ... At nine
ing habits not only in Portugal, but
o’clock, tea, coffee, lemonade, syrup
throughout Europe, and were associ-
gave rise to the creation of specific
by the central window: teapot, milk jug,
water, almond milk, bread, toast drip-
ated with the expressive increase in
services and new types of crockery,
tea flask, sugar bowl, dessert bowl and
ping in butter and all kind of cakes
socialising among the Portuguese.
such as the coffeepot, chocolate pot,
two teacups with saucers.
and pastries are served. Around
William Beckford, an Englishman
The consumption of these drinks
and coffee, chocolate and tea cups,
displayed on the small claw foot table
At the back, a games table, from
midnight, more food is served and the
who travelled to Portugal and remained
the latter a European development of
the late seventeen hundreds, exhibits
guests leave around 2 o’clock. At one
here from May to September 1787,
the Chinese cup, milk jug, sugar bowl,
cards and backgammon pieces, a game
soirée, when the game was at its most
describes a meal at the home of the
saucer, teapot and, at the end of the
that was also highly popular within the
animated, there was a most pleas-
Marquis of Penalva: “It consisted of
18th century, the samovar.
high society of the age.
ant break at which Mademoiselle M.
chocolate, sweets, tea and excellent
recited several Portuguese songs to
coffee, and was served on Dresden
use of new styles of teapot and tea flask,
ware can also be seen scattered around
the accompaniment of Senhor J. on the
porcelain. I have never enjoyed such an
which were made from the most varied
the room and, on the half commode at
piano. These types of songs, which are
admirable breakfast in England. The
and refined materials, ranging from sil-
the back, a table clock flanked by a pair
known as ‘modinhas’ here, are no less
tablecloth and napkins were beautiful
ver to European and Chinese porcelain.
of Qing Dynasty emblazoned porcelain
pleasing to a foreigner’s ear than that
and curiously embroidered with arms
In this room can be seen innumer-
vases from the dinner service commis-
of a local’s. The said artiste then sang
and flowers in red on a white back-
able pieces of Chinese export porcelain
sioned by the 5th Marquis Marialva,
several compositions of her own in the
ground. Myriad salvers, with enormous
from the 18th century Qing Dynasty.
chief equerry to Queen D. Maria I.
Italian style.”25
strawberries, perfumed the house,
52
This period also saw the widespread
Portuguese and European glass-
53
2ND FLOOR
Office
54
55
Office
Heritage and Culture
The office 29 is housed in a room with a
Books during the ancien régime rep-
By the table stand leather armchairs
Also visible in the room is a decora-
neoclassical azulejo (tile) wainscot and
resented important cultural tools. On
with gilded brass studs from the sec-
tive mirror over the chimney in gilded
an ornamental ceiling of relief stucco,
display in the room are leather-bound
ond half of the 17th century.
carving from the seventeen hundreds,
decorated with a painting in the centre.
publications from the 17th and 18th
Seigneurial houses habitually
possessed a library, which contained
centuries.
On the wall to the right is an oil paint-
on the wall on the right, a neoclassical
grandfather or column clock.
On the subject of writing, there are
Francis of Assisi, St. Anthony and the An-
the archive of documents relating to
four writing desks – Indo-Portuguese
nunciation dating from the 17th century.
the family assets and their respective
pieces from the sixteen hundreds – dis-
On the other walls, St. Mary Magdalen
administration.
tributed around the room, two of which
(?), an oil on canvas placed above the
Inácio José Peixoto, the Braga as-
on the drop-leaf table on the right, the
fireplace and a collection of European
sociate judge previously mentioned
smallest presumably Filipino. 31 Next to
engravings illustrating the Biblical motif
with regard to Dr. Constantino Ribeiro
these can be seen a manuscript and a
of the story of Joseph in Egypt.
do Lago, mentioned, “as stated in the
Portuguese ceramic ink pot from the
provisions that I saw in the Casa dos
following century.
Biscainhos archive.”30
From the same period is the polychrome glassware, which was made in
ABOVE
Ink pot. Portugal. 18th
century. Blue and winecoloured earthenware.
Height 6 x Ø 17.7 cm.
Inv. 2370 MB.
56
flanked by a pair of Chinese pots, and,
ing on board, a tryptych, entitled St.
ABOVE
St. Francis of Assisi,
St. Anthony and the Annunciation.
Painting. Portugal. 17th century.
Oil on board. Height 133 x Width
172.5 x Depth 7.5 cm. Inv. 191 MDS.
At the back, a bureau displays various objects, among them a salver with
pieces of Chinese export porcelain
from the 18th century Qing Dynasty.
Portugal and contains captions alluding
to the Portuguese kings D. João V and
D. José I (1750-77).
57
2ND FLOOR
Dining Room
58
59
Dining Room
RIGHT
Tray. From the dinner ser‑
vice commissioned by the
1st Viscount of Mirandela.
China. Qing Dynasty.
Qianlong Kingdom. 1795.
Porcelain. Height 3.8 x
Width 27.5 x Length 36.5
cm. Inv. 214 MB.
Pomp and Pleasure
The Dining Room is housed in a room
with neoclassical features, displaying an
ornamental ceiling with artistic stucco and a
central painting flanked by four landscapes,
the latter in the style of Jean Pillement.
The walls exhibit paintings and azulejos
As the century progressed, table habits
The room contains Portuguese neo-
(tiles) in the style of the ambiance, cor-
evolved, with a profusion of new man-
classical furniture, with the exception
responding to the period of the reign
ners and refinement of implements
of the English-style dresser, in which
of Queen D. Maria I, all dating from the
that already existed such as cutlery:
can be seen a French Empire clock, in
end of the 18th century.
“The spoon, knife and fork became part
gilded bronze, cutlery sets, covered
of an individual set of tableware which
with fish skin35 and lined on the inside
meal area probably first appeared in
was now placed next to each guest’s
with crimson velvet, amid 18th century
Portugal in the third quarter of the 18th
plate and the handles of the three items
Chinese wine coolers.
century. 32 Until then, meals would have
were made to look similar by means of
been served in different rooms accord-
generally identical decoration.”
The Dining Room as a dedicated
ABOVE
Thin-necked water jug.
Tin. Height 26. 5 x
Width 21 x Ø 10.3 cm.
Inv. 3350 MEP.
34
On the wall tables, among other
objects can be seen three silver-plated
ing to the mood of the masters of the
At the end of the 18th century, in
brass samovars and two thin-necked
house, the servants moving the table
contrast to the efforts of the Marquis of
water jugs, one of which in tin, usually
legs and tops, 33 which would have been
Pombal, chief minister to King D. José I,
associated with finger bowls used for
set with the finest fabrics, tin tableware
to stimulate the Portuguese ceramics
keeping diners’ hands clean as part of
and, in later periods, silver and Euro-
industry, the Portuguese nobility’s taste
the table ritual.
pean and Chinese porcelain.
for elegant European and Oriental china
At the back, above the stove, hangs
grew unabated, specifically Qing Dy-
a canvas oil painting portraying King D.
nasty Chinese porcelain, among which
João VI (1818 -1822).
many commissioned dinner services
produced in China decorated with the
heraldic motifs of the different families.
60
61
01
02
01 Plate.
China. Qing Dy‑
nasty. Qianlong Kingdom.
18th century. Porcelain.
Height 2.4 Ø 22.4 cm. Inv.
219 MB.
02 Plate.
China. Qing Dy‑
265 MB.
BOTTOM
Set of cutlery. Portugal.
18th century, 2nd half.
Wood, fish skin, velvet and
metal. Height 38.3 x Width
24 x Depth 27 cm. Inv.
2208 MB.
03 Plate.
03
04
Decoration ins‑
pired by the engraving by
Moreau Le Jeune. China.
Qing Dynasty. Qianlong
Kingdom. 18th century.
Porcelain. Height 2.8 Ø ∅
23.5 cm. Inv. 226 MB.
04 Plate.
China. Qing Dy‑
202 MB.
In the built-in wall cupboard, Chinese
...”36 37 William Beckford, who was on
Qing Dynasty porcelain occupies the
friendly terms with the Marquis of
upper shelves, while 18th century
Marialva, described a lunch at the
Portuguese ceramics are exhibited on
home of the Portuguese aristocrat: “At
the lower two.
two we sat at table en famille. … The
On the central table can be seen a
dinner was served on silver tableware
pair of bronze seven-stick candelabra
and there was a large variety of dishes
of the type typical of the age.
served to a huge number of gentlemen
At banquets, the presentation of the
dishes was especially elaborate and the
and chaplains, several of whom decorated with the Order of Christ …”38 39
food abundant.
Arthur William Costigan, an Englishman who served as a soldier in Portugal
up until 1776, wrote the following about
a banquet to which he was invited: “I
have never seen so great a variety of
delicacies presented to so few people
62
63
1ST FLOOR
Cloister
64
65
Cloister
Austerity and Nature
This inner courtyard, rectangular in
plan and double colonnaded, reveals
the Italian influence on Portuguese
architecture.
ABOVE
Built from granite, the two-storey
Baroque, with sculpted pilasters and
gallery opening onto an open-air area
keystones on the upper arches with
has a fountain with a circular basin
decorative vegetal motifs.
and sculptural motif in the centre.
Cladding the walls on the 2nd floor
Murmuring water gushes from the lips
of the courtyard are 17th century poly-
of cherubs, enveloping the space in
chrome azulejo (tile) wainscots of blue,
magical nostalgia.
yellow and white with an ornamental
The setting conjures images of 17th
motif, known as “tapete” (carpet), in the
century noblewomen, confined to the
tradition of wall coverings of tapestries
interior of their homes and forbidden
and worked fabrics, lining the walls with
from enjoying the pleasures of the open
a continuous ornamental mesh.
air except when hidden from prying
Cloister.
Partial view.
The cloister is the glue that holds the
eyes in the safe surroundings provided
different wings of the palace together,
by inner courtyards like this one, or
the centre on which they all converge.
gardens shielded by high walls.
The eastern end has a double
arcade surmounted by a balcony with
ABOVE
Cloister.
Partial view.
66
pillars, forming a patio onto which three
windowed doors open. The style is
ABOVE
Azulejo (tile) panel. Detail.
Height 124 cm x Length 585
cm (whole panel).
67
1ST FLOOR
Private Chambers
68
69
Private Chambers
Pain and Happiness
RIGHT
Safe. 17th century. Portu‑
gal (?). Turtleshell and sil‑
ver. Height 16.1 x Length
20.4 cm. Inv. 2159 MB.
“I am not surprised that the bedstead has, for
generations, been the most sumptuous of all
furniture. It is where one is born, where one loves,
where one dies. It is present at the beginning and at
the end. It is first to hear a baby’s cry and trembles
with an old man’s final convulsion. In its six feet fits
the whole cycle of human life.”. J.D.
The Private Chambers consist of a
served the purpose of keeping the heat
commonly washed parts of the body be-
number of connected rooms with
in and the damp out, as well as ensur-
ing the hands, face and, predominantly,
Empire period wall paintings and refer
ing a degree of intimacy in a space usu-
the feet, which explains the presence of
to the living aspect of the traditionally
ally shared by several people, namely
“bacias de pés de cama” (bedside foot
multipurpose bedrooms, which during
children, family and even servants.
basins) or “lavapés” (foot washes).
the ancien régime developed into the
ABOVE
Fan. 18th century. Ivory,
paper and gouache. Holland
(?). Height 27.5 x Width 52.5
cm. Inv. 2367 (x) MB.
The fabrics used were delicate and
It was in the bedroom with the help
private rooms for sleeping, dressing,
luxurious, such as the finest Dutch
of servants that the nobles performed
washing and praying.
linen, lace, embroidery, such as Indo-
their toilette, adorning themselves with
Portuguese and Castelo Branco bed-
magnificent clothes and jewellery.
At that time, the word “bed”
referred only to bed linen, while the
wooden structure on which it was laid
spreads, silk, damask and brocade.
Adjoining the bedroom there some-
out was called a bedstead. Tradition-
times existed an alcove, a small space
ally, the Portuguese slept on estrados
large enough for a smaller bedstead
(daises), chests or even on the floor on
and separated by plain curtains.
straw mats.
A “bed” consisted of a mattress,
As regards hygiene, the room
catered for all bodily needs, the most
sheets, blankets, bedspread and pillow
cases. The canopy – flat or pavilionshaped – with its respective frame,
70
RIGHT
Bedspread. Detail. Castelo
Branco. 18th century. Linen
and silk thread. Portugal.
Length 208 x Width 138 cm.
Inv. 360 MB.
71
1ST FLOOR
Slave and
Servants’
Quarters
72
73
Slave and
Servants’ Quarters
Work
“We may be black, but we are
people and we still have souls”
(Roland, “Adágios”
José Inácio Peixoto refers to the slave-
(Adages), 1780)
owning associated with the Casa dos
Biscainhos in 1756: “... only there was
one aware of the embargo, Martinho
Pereira went out with his son and
Descending from the main floor to the
soldier, several servants and slaves
ground floor, to the right is located a
belonging to himself and the Dean ...”42
room that refers to the presence of
Slave-owning was a feature of life at
black slaves in Portuguese everyday
various levels of society, the aristoc-
life, the first of which arrived from the
racy, bourgeoisie and even among
African colonies in 1441.
farmers, during the ancien régime.
According to Leite de Vasconcelos,40
Slaves were put to work in the home, on
people entered the mother country
farms and in animal herding, represent-
from almost all the Portuguese
ing a symbol of the economic power of
colonies. In the mid-16th century (1554),
the upper classes.
a survey indicated that 10% of Lisbon’s
It should be noted that Portugal was
population was black,41 that is, a slave
one of the first countries to proclaim the
or freedman, a figure that continued
abolition of slavery in its home territo-
to grow during the following centuries.
ries in 1761 during the reign of D. José I.43
Although the numbers were greater in
It is assumed that, in Portuguese
the capital and the south, they could be
society, slaves were treated in a similar
found throughout the country.
manner to servants, who among the
In Braga, their presence was
recorded, by way of an example, in
nobility were termed “a família”, or
“the family”.
1545 in the Índice dos Prazos das
Casas do Cabido (Index of the Leases
of the Houses in the Chapter), where
reference is made to one Ana Teixeira,
a female slave. Black slaves took part
in the city’s many public feasts during
the 18th century.
74
RIGHT
Azulejo (tile) panel in the Great
Hall. Scene depicting a nobleman
presumably accompanied by a
slave. P.M.P. (attrib.). Portugal.
18th century (1st quarter). Height
167 x Length 255 cm (whole panel).
75
1ST FLOOR
Stables
76
77
Stables
Tradition
In Portugal, horseriding was traditionally a popular pastime among the nobility. When, in 1761, the Colégio Real dos
Nobres (Royal College for the Nobility)
were established by the Marquis of
Despite its functional character, the
Pombal, horseriding alongside fencing
Stables exhibit some interesting
became the sport of the establishment.
decorative ironwork. The room for five
The systematic penchant of the
horses is divided into wooden stalls
Portuguese monarchs for the art of
which exhibit decoration in the upper-
horsemanship is well known.
most section, of which the iron horses
Seigneurial houses would customar-
heads stand out. Containers for straw,
ily have had horses, mules, donkeys
in the form of metal baskets, can also
and even bulls for transport.
be seen suspended from the wall.
The Stables are located on the
The stables are jointly lit by a window
ground floor at the end of the corridor
and a glazed carriage door, the latter
on the left, just ahead of the door into
providing a direct route to the exterior.
the garden. It is a 19th century adapta-
On display can be seen a horse-drawn
tion, a period when horses were still the
carriage from the 19th century and, sus-
principal means of transport.
pended from the walls, leather halters.
RIGHT
Stables. 19th century.
Partial view.
78
79
1ST FLOOR
Kitchen
80
81
Kitchen
Ancestry and Refinement
“Egg slices.
Mix a dozen eggs with twelve ounces of
flour, one pound of finely ground almonds,
one pound of well sieved rock sugar, one
spoonful of cow’s butter, flower water
mixed with rose water ...”
LEFT
Partial view of the
kitchen with table and
tank at the back.
Thus wrote Domingos Rodrigues, King
the water essential for the multiple
The iron spits for roasting meat over
D. Pedro II’s head chef, in his work “Arte
functions of the room, and three others
an open fire can also be seen, as well
de Cozinha devidida em tres partes”
set into the stone flooring slabs and
as different mortars and pestles for
(The Art of Cooking divided into three
also used to supply water.
the necessary grinding of ingredients,
parts), printed in 1693 at the workshop
of Manuel Lopes Ferreira de Lisboa
44
and successively re-published in follow-
cloves and cinnamon, among others.
The diet of the average nobleman
around the cupboards, hanging from
extremely varied, including all the
cainhos is a functional structure dating
the walls and chimney around the
types of meat we eat today plus game,
from the first half of the 18th century
central fire and includes kettles, pans,
very popular at the time and directly
and recorded in the “Mappa da Cidade
pots, saucepans, tiffin boxes, casserole
hunted by lords and servants, namely
de Braga Primas” (Map of the City of
dishes, chocolate pots, all of huge size,
partridge, thrush, turtle dove, wild
Braga Primas).
given that it was necessary to feed the
boar, deer, stag and fallow deer, among
many people who lived in the house,
others. Seafood and fish were reserved
large chimney inserted into which are
the lords, family and guests, and the
for fasting days and Lent. The varied
two wall ovens, a built-in cupboard
servants and slaves who worked in the
species consumed include sole, hake,
incorporating old iron shelves and a
house and helped on the farm.
gurnard, conger eel, mackerel, sword-
Inside can be seen the arch of the
drainage hole at the bottom.
The remaining area includes a tank
with a granite gargoyle from which ran
82
wooden doors.
in the 17th and 18th centuries was
The kitchen of the Museu dos Bis-
Canteen. Portugal. 17th
century (1st half). Blue
painted earthenware.
Height 41.5 Ø (base) 14.5
cm. Inv. 322 MB
are two more built-in cupboards with
which included spices such as pepper,
The copper kitchenware is spread
ing centuries. 45
ABOVE
On the facing walls as you enter
fish, tuna, lamprey, salmon, red mullet
and, for the common man, predominantly salted cod and sardines. 46
83
LEFT
Tank with gargoyle.
RIGHT
Built-in cupboard with
copper kitchenware.
the tastiest and sweetest delicacies,
competing against each other, giving
rise to a whole new industry.
Many of the sweets that now make
up current Portuguese cuisine were
conceived or developed in the monastic
Meals consisted of thick soups, 47
kitchens of the Baroque era and their
broths, 48 roasts, stews, pies and boiled
names testify to their origins, of which
food, in simple and complex variants,
papos de anjo (angel pouches), beijos
with meat as the staple food accom-
e barrigas de freira (nun’s kisses and
panied by bread, prepared in various
nun’s bellies), toucinho-do-céu (heav-
ways, and rice and potatoes from
enly lard) and manjar celeste (celestial
the second half of the 18th century. 49
titbit) are an example.
Various vegetables from the kitchen
Domingos Rodrigues’s work takes
garden, 50 eggs, cream and cheese
us into an unexpected world of refined
completed the aristocrat’s diet.
cooking and gives us an insight into the
It should be noted that during the pe-
history of Portuguese gastronomy.
riod in question, convents became home
to sizeable numbers of aristocratic women, who took with them their respective
families’ sweet-making traditions.
Sweet-making underwent notable
expansion due to the dedication of the
nuns, resulting in the different monasteries, each of which wanting to make
84
85
Gardens
86
87
Gardens
Light, Beauty and Spectacle
“The Garden encapsulates
a profound need within the
human spirit to create a
paradise on Earth.” 51
ABOVE
Formal Garden. View of the
west facade of the Museum.
former times, there would have been a
constant movement of foot servants,
horses and carriages here, as the four
ABOVE
Formal Garden. Eastern Gate.
Manuel Fernandes da Silva
(attrib.). 18th century.
According to Carolina Micaelis, the
The Gardens are arranged east to
carriage doors on the ground floor
word “garden” is originally from the
west on three levels or landings like an
equipped with wide ramps document
French, from which it passed into the
architectural garden – the Terrace and
the coming and going of animals and
Portuguese language in the 14th or 15th
Formal Garden, Orchard and Kitchen
vehicles. From here you could reach
facade provide the area with another
century through the expression “Jardin
Garden, all in sequence – the whole of
the access lane to the old gate, located
purpose, that of leisure space.
Potagère”, meaning pleasure garden.
which is finished off with walls sugges-
slightly below where it stands today.
As mentioned earlier, the “Mappa da
tive of a 17th century fortress.
To the left, a row of magnolias cre-
The Eastern Gate, which rises up
on twin pilasters and has pyramidal
Cidade de Braga Primas” (Map of the
The central axis of the building
ates a green curtain that shields the
pinnacles surmounted by spheres,
City of Braga Primas) defines the Bis-
and gardens starts at the door on the
garden from outside eyes, while to
provides access to the Formal Garden
cainhos Gardens as a Formal Garden
east-facing facade, passes through
the right stands the structure of the
from the terrace.
and remaining areas, providing us with
the centre of this wing and into the
ground floor kitchen, perpendicular to
details about the original dimensions
interior of the building, exits onto the
the facade, in functional proximity to
enclosure whose rococo style indicates
and confirming the year it was created.
terrace and extends to the end of the
the garden to aid the necessary daily
that it was built at a later date than the
kitchen garden.
deliveries of produce from the kitchen
original garden layout. It is bordered
garden and orchard to feed the inhabit-
by flowerbeds, with urns on pilasters in
ants and workers of the house.
the centre that are lined internally with
The Gardens, facing onto the rear
of the building, were presumably laid
Along the side of the property are
out during the major expansion and
a cane plantation and a pigeon house,
enhancement work carried out on the
and a lane lined with orange trees that
house by the architect Manuel Fern-
extends up to Rua dos Biscainhos.
andes da Silva in the second decade of
the 18th century.
88
The terrace, rectangular in shape,
The terrace contains a fountain with
The Formal Garden is a rectangular
groups of 17th century azulejos (tiles),
an undulating elliptical basin in the
and defines a double axis of paths,
Baroque style with a central sculpture,
east/west and north/south, corre-
sits between the rear facade of the
congaing water spouts, of four Atlas
house and the formal garden. In
children. Stone benches abutting the
89
LEFT
Terrace. View of the foun‑
tain. 18th century.
ABOVE
Formal Garden. Aerial view.
18th century.
Where the four corners meet, there
are small basins with sculptural motifs
sponding respectively to the open-
cal garden of beds of beautiful and
of children (putti) mounted on lions
ABOVE
ing of two impressive gates and two
perfumed flowers, like age-old roses,
and eagles.
Formal Garden. Western
Gate. 18th century.
belvederes topped by pinnacles and
pansies, cloves and daisies.
furnished with small benches.
Still in the Formal Garden, there
In an anonymous manuscript from
are two monumental summer houses,
the 17th century, “Tenções das Cores,
hedged with camellias, sheltering two
to their importance in the Portuguese
Garden rise up to the centre in shell-like
das Flores, das Hervas, das Árvores,
of the said small moulded tanks.
garden, in the context of the Moorish
and swirling movements in a rocaille
dos Fruitos e Significação dos Adu-
style of great beauty.
bos”, 52 (The Design of Colours, Flowers,
sides, is finished off at the top by two
prized, not only for its fruit, but also for
the perfume of its flowers.
The angular walls of the Formal
The Western Gate, with undulating
influence when this tree was highly
At the western corners, to the left,
Herbs, Trees, Fruit and Significance
sculptures of children (angels?) playing
is a belvedere overlooking the Orchard,
of Fertiliser), listed are flowers such
shawms, announcing the visitor’s pres-
with a sculpture of the mythological
as the rose, carnation (yellow, mixed
ence in the garden with an ostentation
hundred and fifty year old tree, a tulip
figure of Grace and, to the right, a
and white), viola (pansies?), jasmin,
typical of the period. It connects the
tree from Virginia, whose age confirms
pavilion with an azulejo (tile) covered
broom, wallflower (yellow and purple),
Formal Garden to the Orchard via a
the antiquity of the Gardens. At the
dome, topped by a ¾ size warrior,
marigold, lily (yellow and sky blue),
broad half moon staircase.
time, it was considered an exotic plant
helmeted and frozen in the gesture of
trumpet daffodil, daisy, poppy, hyacinth
(un)sheathing his sword.
and narcisus.
This section contains a maze with
box hedges, delineating a geometri-
90
The Orchard and the Kitchen Gar-
The Orchard includes a nearly two
and was highly prized by the Portu-
den, situated at two different levels,
guese nobility. Two other examples of
have been organised, since the begin-
this species are also known, equally as
symmetrical spokes that converge at
ning, in areas compartmentalised by
old and connected to Baroque period
the centre in a circular leisure area with
box hedgerows, in the Roman manner.
buildings, one at the Casa do Pas-
stone benches, surrounding a tank with
Located in these are the fruit trees,
sadiço, in Braga, and the other at the
a sculpture of four Tritons riding dol-
such as the orange trees, walnut trees,
Palácio do Freixo, in Oporto.
phins and a raised waterfall of foliage
apple trees, fig trees and pear trees,
In a poem by Sóror Maria do Céu,
and undulating shell shapes, rococo
among others. Currently, the orange
who lived in the 17th century, “Cântico
style, from which water descends.
trees are the main survivors, attesting
do Senhor pelas Frutas” (The Lord’s
The main paths are organised like
91
RIGHT
Grace. Sculpture. Granite.
Portugal (Braga ?). 18th
century.
OPPOSITE PAGE
Gardens. Partial view.
Focus on the 18th century
tulip tree.
Hymn to Fruit),53 ,there are references to
pinnacles, doors and windows. On the
fruit such as apples, mulberries, plums,
inside, a shrine abuts the central part
morellos, cherries, grapes, oranges, figs,
of the enclosure, containing a portico
pears, melons, hazelnuts and dates.
with columns and a pediment, and is
The Kitchen Garden would have
surmounted by an azulejo (tile) covered
corresponded to the final level and was
dome 55 topped with a small lantern and
where vegetables for consumption
urn. 56 In the centre of the enclosure
were grown, as well as medicinal and
organised by the walls and flowerbeds
aromatic plants.
stands a polygonal shaped basin from
In “Arte de Cozinha” (Art of Cooking), recipes are given for turnip,
whose centre water gently spouts.
Commenting on a party in the gar-
esparagus, lettuce, onions, carrots,
dens of the Count of Pombeiro, in Be-
cabbages, among many other legumes
las, William Beckford wrote: “The house
and vegetables. “Tenções…”54 also re-
and flower-filled gardens are concealed
fers to leeks, cucumbers, purslane and
in the midst of a wood of large trees,
spinach, so we can presume that these
orange trees and huge myrtles. In the
vegetables would also have been grown
thickets there were orchestras and
in the Portuguese kitchen garden at
the brilliant pavilions, all illuminated,
their respective times of the year.
in the midst of the heavy darkness of
The Gardens come to an end in the
the foliage, were like magical buildings.
west beside the aforementioned po-
The guests of the Count of Pombeiro,
lygonal shaped walls with battlements,
whose party began before dusk, only
reminiscent of a 17th century fortress,
left at six o’clock in the morning.”57 58
which incorporate watchtowers and
92
93
Notes and Bibliography
94
95
Notes
1 See VASCONCELOS, Maria
da Assunção Jácome de – “O
Livro do Mapa das Ruas de Braga
de 1750”, Braga Revisitada.
1750. Mapa das Ruas de Braga
1750-2000. Published by the
Museu dos Biscainhos/IMC and
A.D.B/UM, Braga, December
2000, p. 10.
2 See the following works: PEIXOTO, José Inácio – Memórias
Particulares. ADB. 1992 and
FERNANDES, Maria Manuela
Campos Milheiro – A Cidade e a
Festa no Século XVIII, published
by Instituto de Ciências Sociais,
Universidade do Minho, Vol. I,
Braga, 1997, p. 15.
3 Rua dos Biscainhos owes its
name to the presence of artisans
from Biscay who, in the 16th
century, were hired by the great
Archbishop D. Diogo de Sousa
for the work to revitalise the city.
They and their families settled
in this street and, later, when the
building was constructed, it was
named after it presumably because it was the most important
house on it.
4 See GAYO, Felgueiras – Mobiliário das Famílias de Portugal,
Tome V, published by Agostinho
de Azevedo and Domingos de
Araújo Afonso, Braga, 1938, p. 47.
5 See PEIXOTO, op. cit., pp.15-16.
6 Idem, ibidem.
7 Although a contract relating to
the house exists in the Arquivo
Distrital de Braga, dating from
1698 and signed by another of
the associate judge’s sons, Diogo
de Sousa e Silva do Lago, with
Domingos Fernandes, a stonemason, it does not identify to which
part of the building it refers. See
Arquivo Distrital de Braga – GENERAL NOTES, no. 481, “Contrato
da obra de pedraria de Diogo de
Souza da Sylva com D.os Fr.ez,
mestre pedrº”, 1st August 1698,
pp. 107-108.
8 Arquivo Distrital de Braga
96
– GENERAL NOTES, Series 1,
no. 542, “Contrato de obra de
pedraria do Rº D. Francº Prª
da Silva Deam nesta Santa Sé
com Manuel Fernandes da Silva,
mestre pedrº desta cidade”, 26th
November 1712, pp. 103-104.
9 See ROCHA, op. cit., pp. 168-172.
10 The successor to the former
Junta de Província (Provincial
Council).
11 The historian Robert C. Smith
dated these two sculptures to the
second half of the 18th century.
See op. cit. “The Art of Portugal
1500-1800”, p. 190, photo. 141.
12 “A bufete is a table made of
worked precious wood with metal
embellishments.” See FONSECA,
Jorge – “O Interior Doméstico
em Montemor-o-Novo no século
XVII”, Almansor. Revista de Cultura. C.M. de Montemor-o-Novo,
issue 9, 1991, p. 180.
13 By José Meco on a visit to the
museum.
14 See MELLO, Magno Moraes
– “Manuel Furtado e a pintura de
tectos joaninos em Braga”, Minia.
ASPA, Series 3, Year III, 1995, pp.
157-188.
15 See MELLO, Magno Moraes
– A Pintura de Tectos em Perspectiva no Portugal de D. João V,
Teoria da Arte Collection, Editorial Estampa, 1998, pp.173-180.
16 See ATAÍDE, Luís Bernardo
Leite – “A Casa Morgadia”,
Etnografia, Arte e Vida Antiga
dos Açores, Biblioteca Geral da
Universidade, Coimbra, 1973,
Vol. I, p. 217.
17 Orientalizing motifs.
18 See ALARCÃO, Teresa;
CARVALHO, José Alberto Seabra
de – Imagens em Paramentos
Bordados (Séculos XIV a XVI),
Instituto dos Museus e da
Conservação, 1st edition, 1993,
pp. 184-191.
19 LOPES, Maria Antónia – As
mulheres, espaço e sociabilidade
… Livros Horizonte, 1989, p. 38.
20 Within the context of an inventory of the property of a house
in the Azores, dated 1808, which
describes the different rooms,
reference is made to a “Caza do
Estrado” (Estrado Room). See Instituto Histórico da Ilha Terceira
– O Solar de Nossa Senhora dos
Remédios (Canto e Castro.) 1755.
Angra do Heroísmo, 1996, pp.
30, 35-36.
21 And probably north Africa. See
FONSECA, Jorge – “Tapetes de
Arraiolos. Novos elementos para
a sua história”, Almansor, Revista
de Cultura, published by the Câmara Municipal de Montemor-oNovo, issue 13, 1995-1996, p.117
22 “The first reference to a
carpet made in the town appears
in 1598 in the inventory of Catarina Rodrigues, the wife of João
Lourenço, a farmer and resident
at the Bolelos estate, Arraiolos: ‘a
new locally-made carpet valued
at two thousand reis.’” FONSECA,
Jorge, op.cit., p. 114.
23 VASCONCELOS, Flórido de,
Estuques Decorativos do Norte
de Portugal, Fundação Calouste
Gulbenkian, Centro Regional de
Artes Tradicionais, Oporto, 1991,
print no. 9.
24 A card game much enjoyed
by the Marquis of Pombal, Chief
Minister to King D. José I. See
GORANI, Giuseppe – Portugal. A
Corte e o País nos anos de 1765 a
1767. Lisóptima Edições, Lisbon,
1989, p. 96.
25 RUDERS, Carl Israel – Viagem
em Portugal. 1798 – 1802, Lisbon,
Biblioteca Nacional, 1981, p. 174.
26 From China and whose
trade with Europe was initially mono+polised by the Portuguese. See Bebidas (As) Exóticas
e as Artes Decorativas…, C.M.
Oporto, Casa Museu Guerra
Junqueiro, Fundação Oriente,
2002, p. 10.
27 BECKFORD, W. – Diário de
William Beckford, Lisbon, Em-
presa Nacional de Publicidade,
1957, p. 69.
28 “Translator’s note: due to the
difficulty of discovering the original
reference, this quotation has been
translated from the Portuguese
work cited in the end notes.
29 “This word of French origin
designated a ... room dedicated
to the intellectual work, entertaining and spiritual rest of its
owner.” FONSECA, Jorge – Um
Nobre Alentejano do século XVIII
e a sua casa…, op. cit., p. 232.
30 See PEIXOTO, José Inácio,
op.cit., p. 150.
31 “Under Spanish rule (15811640), furniture reflected the
dominant Mannerist style in
great similarity to pieces from
that country (frequently being
described as Filipino furniture).”
SOUSA, M. Conceição Borges de,
op. cit., p. 26.
32 In the work by MADUREIRA,
Nuno Luís – Lisboa: 1740-1830,
cidade, espaço e quotidiano,
Livros Horizonte, Lisbon, 1992,
reference is made to a room by
the name of “‘dining room’ in
the plan for the building that is
to be built in Rua Formosa, 12th
January 1772.” See SOUSA, M.
da Conceição Borges de, op.
cit., p. 33.
33 This could explain the modern
day expressions of ‘to set’ and
‘to clear’ the table that we use
everyday without actually moving
it from its place.
34 See SOUSA, Gonçalo de
Vasconcelos e – Artes da Mesa
em Portugal: do Século XVIII ao
Século XXI, op. cit., p. 32.
35 Raphael Bluteau: “Sea fish,
dogfish, with very coarse skin
... that is what they use to cover
boxes and make cutlery sets.”
SOUSA, Maria da Conceição
Borges de, op. cit., p. 34.
36 See COSTIGAN, A. William
– Cartas sobre a Sociedade e os
Costumes de Portugal. 1778-1779
(Original title: Sketches of Society and Manners in Portugal).
Lisbon, Lisóptima Edições, 1989,
Vol. 1, p.34.
37 Translator’s note: due to the difficulty of discovering the original
38 BECKFORD, William – Diário
de William Beckford. Lisbon, Empresa Nacional de Publicidade,
1957, p. 105.
39 Translator’s note: due to the
difficulty of discovering the
original reference, this quotation has been translated from
the Portuguese work cited in
the end notes.
40 Op. cit., p. 38.
41 See BRÁSIO, António – Os Pretos em Portugal. Agência Geral
das Colónias. Lisbon, 1944, p. 14.
42 See PEIXOTO, op. cit., p. 32.
43 At the heart of this decision
lay economic interests, i.e., the
channeling of slaves to Brazil to
work on the farms. Slavery was
only abolished throughout the
Portuguese Empire in 1836 by
government decree.
44 RODRIGUES, Domingos
– Arte de Cozinha, Officina de
Manoel Lopes, Lisbon, 1693.
45 Other cook books were also
published in the 18th century:
RIGAUD, Lucas – Cozinheiro
Moderno ou Nova Arte de Cozinha. Lisbon, Simão Tadeu
Ferreira, 1798, and Arte Nova
e Curiosa para Conserveiros,
Confeiteiros e Copeiros… Printed
at the workshop of José Aquino
Bulhões, Lisbon, 1788.
46 See SANTOS, Piedade
Braga, RODRIGUES, Teresa
S., NOGUEIRA, Margarida Sá
– Lisboa Setecentista vista por
Estrangeiros… , p. 53.
47 With vegetables or cooked
greens of some sort.
48 Rich with vegetables and meat.
49 “Rice and potatoes would also
have been introduced during this
period, though late – second half
of the 18th century. However, it
was only in the following century
that these two crops witnessed
the expansion that would give
them a fundamental place within
Portuguese agriculture.” See
MATTOSO, op. cit, p.78.
50 In Arte de Cozinha, there are
recipes for turnip, asparagus, lettuce, onion, carrot, and cabbage,
among many other legumes and
vegetables. Also see the 17th
century manuscript Tenções das
Cores, das Flores, das Hervas,
das Árvores, dos Fruitos e Significação dos Adubos, which refers
to leeks, cucumbers, purslane,
spinach, along others. SERRÃO,
Vítor, op. cit., p. 248.
51 CARITA, Hélder; CARDOSO,
Homem – Tratado da Grandeza
dos Jardins em Portugal…” Edição dos Autores, 1987, p. 15.
52 National Library, Proza Varia.
Code F/3656, leaves 53-54. Communiqué from Dr. Miguel Faria,
SERRÃO, Vítor, op. cit., p. 248.
53 See HATHERLY, Ana – “As
Misteriosas Portas da Ilusão. A
Propósito do Imaginário Piedoso
em Sóror Maria do Céu e Josefa
d’Óbidos”, SERRÃO, Vítor, op.
cit., pp. 73-74.
54 The 17th century manuscript
mentioned above “Tenções das
Cores…” SERRÃO, Vítor, op. cit.,
p. 248
55 Broken up groups of azulejos,
presumably from elsewhere.
56 The urn that sits atop the
construction probably dates from
the second half of the seventeen
hundreds as it is typical of the
neoclassical period.
57 BECKFORD, op. cit., pp.
223-224.
58 Translator’s note: due to the difficulty of discovering the original
97
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SILVA, André Ribeiro Soares da
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Planta em perspectiva. Cerca
de 1755.
99
1ST FLOOR
LOBBY
SLAVE AND SERVANTS’ QUARTERS
STABLES
KITCHEN
RECEPTION AND SHOP
TEMPORARY EXHIBITIONS 1
TEMPORARY EXHIBITIONS 2
GARDENS
2ND FLOOR
STAIRCASE
ENTRANCE HALL
GREAT HALL
ORATORY
DAIS ROOM
MUSIC AND GAMES ROOM
OFFICE
DINING ROOM
CLOISTER
PRIVATE CHAMBERS
PRIVATE CHAMBERS
PRIVATE CHAMBERS
EDUCATION SERVICE
100

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