Largo Rafael Bordalo Pinheiro, 28-34 This building was constructed ...

Largo Rafael Bordalo Pinheiro, 28-34
www.monumentos.pt/Site/APP_PagesUser/SIPA.aspx?id=3190
diba@ihru.pt
This building was constructed in the 19th century by is owner, Manuel Moreira
Garcia, on part of the former Convento da Trindade. The most striking feature of
the building is the azulejo cladding by Luís Ferreira, or “Ferreira das Tabuletas”
(1864), as he was known because he began his artistic career painting signboards.
He used a palette of colours ranging from sepia to yellow and the azulejos depict a
range of Masonic symbols and allegories, such as the the triangle-shaped
structure at the top of the building with the “Eye of Providence” accompanied by
a five-pointed star. Flanking the central windows of the building, superimposed
vertically above one another, we can see six allegorical figures in niches, dressed
in the classical manner, representing commerce, industry and the four elements.
Rua Nova da Trindade, 20 C
Tel: (351) 213 423 506
www.cervejariatrindade.pt/index.html
geral@cervejariatrindade.pt
Disabled Access
In 1836 Manuel Moreira Garcia, decided to acquire the site of the former church of
the Convento da Trindade and its cloister and refectory, to install his beer hall. On
the façade of the cervejaria he made extensive use of part of the azulejo
cladding of the former convent. It was only later that he commissioned Luís
Ferreira, or “Ferreira das Tabuletas”, the artistic director of the Fábrica de
Cerâmica Viúva Lamego, to decorate the interior. He painted the azulejos with a
profusion of Masonic motifs and symbols, accompanied by allegorical panels
depicting the seasons of the year, among other themes. The present cervejaria is
a testament to the eclecticism and excessive decorativism of 19th century
bourgeois taste.
Largo da Trindade Coelho
Tel: (351) 213 235 383
www.museudesaoroque.com/igrejasaoroque.aspx
info@museu-saoroque.com
Guided Tours by appointment.
It was built in 1577, next to the cemetery where plague victims were buried, in
lands that King João III gave to the Company of Jesus, on condition that they
retained its dedication to S. Roque. The greatest masterpiece of the Church,
commissioned in Italy by King João V in 1740, is the Chapel of St John the Baptist in
Rococo Style, for its use of mosaic and other materials - the chapel is entirely
constructed in semi-precious stones and precious metals (including amethyst,
jade and lapis lazuli).
THE AZULEJOS
At the entrance to the church (antechoir) and in the transept, we can see tapete
(carpet) cladding in "diamond-point" which originated in the workshops of
Seville. In certain places, one can spot less well-finished tiles of coarser design,
which are the first azulejos produced in Portugal. The other azulejo work of
particular importance, dated 1584, is to be found in the Church's chapel of S.
Roque. Executed by Francisco de Matos, it is a masterpiece of majolica azulejo
work for its motifs and for the perfection of the design on the yellow ochre
ground - the blue motifs depict fruit, flowers, grotesques, cornucopias, garlands,
etc. More or less in the middle of the right-hand side, we find a medallion
depicting the "Miracle of S. Roque", whose technical perfectional most matches
that of oil painting.
In this historic quarters,
where the old and the new
live in harmony, this walk
takes in a number of
different styles and
applications of azulejos, with
an emphasis on their
commercial and
religious use.

Rua D. Pedro V, 57 D
Tel: (351) 210 119 283
Disabled Access
th
The S. Roque bakery and cakeshop first opened in the early years of the 20
century and is a fine example of Art Nouveau architecture applied to a
commercial establishment. On entering the building, one is immediately struck
by an enormous dome supported on composite capitals decorated with golden
putti and fruit. This is complemented by wood panelling and stencilled industrial
azulejo cladding, some bearing motifs of cockerels and ears of corn (reflecting the
establishment's business), and individual wood panels decorated with poppies.
These panels are framed by bands of relief azulejos with geometrical motifs in
green and orange, reminiscent of dry-string Arab tiles. The importance of the
bakery to this walk about azulejos stems not just from the beauty of the
ornamentation but also because it demonstrates the rejuvenation of azulejo
work and the expressive way they are used to depict certain themes.
Rua do Século, 123
Tel: (351) 213 427 525
www.monumentos.pt/Site/APP_PagesUser/SIPA.aspx?id=4017
diba@ihru.pt
It forms part of a convent complex which is unique in being the only convent still
functioning in Lisbon and which has existed without a break since its foundation.
The interior of the chapel is notable for its "typically Portuguese" decoration - a
combination of carved work (in particular the high altar in National Style) and
marble rocaille - complemented by the masterly Dutch azulejos by Jan van Oort,
that depict scenes from the life of St Teresa of Ávila. We can appreciate a set of
seven panels arranged in chronological order, separated by a border of blue
foliage on a yellow ground which provides a harmonious transition to the gilded
carving that frames the series of paintings in the church. Also noteworthy is the
presence of sequential motifs (albarradas) in the sacristy dating from the first half
of the 18th century, and the decorative cladding in the cloister where it is possible
to spot small panels that mark the location of the drainpipes ("the drainpipe from
the washbasins runs below here").
Largo de Jesus
Tel: (351) 213 460 897
www.monumentos.pt/site/app_pagesuser/sipa.aspx?id=6550
diba@ihru.pt
The present building postdate the 1755 earthquake and forms part of a much
larger complex, including the present-day Hospital de Jesus and the Academy of
Sciences.
Highlights of the church are:
- the chapel of the Vila Francas commissioned by Dom António de Sousa
Macedo, minister to King Afonso VI, as a burial place for his family. It is notable for
its exuberantly colourful late 17th century azulejo cladding which aptly
complements the chapel's plundered architecture, creating the illusion of a much
greater space, and the ceiling, which is a simple combination of white tiles with
borders featuring blue allegorical motifs;
- the sacristy, the dome of which is lined with multicoloured chequered tiles, and
the vault of the corridor leading from the Epistle (left) side of the transept, which
features a Baroque azulejo composition by António de Oliveira Bernardes, noted
for his exalted themes and accentuated spatial volumes.