Portuguese Architecture

The buildings of Portugal, with one or two exceptions, cannot be said to excel or even to come up to those of other countries. To a large extent the churches are without the splendid furniture which makes those of Spain the most romantic in the world, nor are they in themselves so large or so beautiful. Some apology, then, may seem wanted for imposing on the public a book whose subject-matter is not of first-class importance.

The present book is the outcome of visits to Portugal in April or May of three successive years; and during these visits the writer became so fond of the country and of its people, so deeply interested in the history of its glorious achievements in the past, and in the buildings which commemorate these great deeds, that it seemed worth while to try and interest others in them. Another reason for writing about Portugal instead of about Spain is that the country is so much smaller that it is no very difficult task to visit every part and see the various buildings with one's own eyes: besides, in no language does there exist any book dealing with the architecture of the country as a whole. There are some interesting monographs in Portuguese about such buildings as the palace at Cintra, or Batalha, while the Renaissance has been fully treated by Albrecht Haupt, but no one deals at all adequately with what came before the time of Dom Manoel.

Most of the plans in the book were drawn from rough measurements taken on the spot and do not pretend to minute accuracy.

For the use of that of the Palace at Cintra the thanks of the writer are due to Conde de Sabugosa, who allowed it to be copied from his book, while the plan of Mafra was found in an old magazine.

Thanks are also due to Senhor Joaquim de Vasconcellos for much valuable information, to his wife, Senhora Michaelis de Vasconcellos, for her paper about the puzzling inscriptions at Batalha, and above all the Baron and the Baroneza de Soutellinho, for their repeated welcome to Oporto and for the trouble they have taken in getting books and photographs.

That the book may be more complete there has been added a short account of some of the church plate and paintings which still survive, as well as of the tile work which is so universal and so characteristic.

As for the buildings, hardly any of any consequence have escaped notice.

EDINBURGH, 1907.

CONTENTS

INTRODUCTION

PAGE

Portugal separated from Spain by no natural division geographical or linguistic; does not correspond with Roman Lusitania, nor with the later Suevic kingdom--Traces of early Celtic inhabitants; Citania, Sabrosa--Roman Occupation; Temple at Evora--Barbarian Invasions--Arab Conquest--Beginnings of Christian re-conquest--Sesnando, first Count of Oporto--Christians defeated at Zalaca--Count Henry of Burgundy and Dona Theresa--Beginnings of Portuguese Independence--Affonso Henriques, King of Portugal--Growth of Portugal--Victory of Aljubarrota--Prince Henry the Navigator--The Spanish Usurpation--The Great Earthquake--The Peninsular War--The Miguelite War--The suppression of the Monasteries--Differences between Portugal and Spain, etc. 1-10

PAINTING IN PORTUGAL

Not very many examples of Portuguese paintings left--Early connection with Burgundy; and with Antwerp--Great influence of Flemish school--The myth of Grão Vasco--Pictures at Evora, at Thomar, at Setubal, in Santa Cruz, Coimbra--'The Fountain of Mercy' at Oporto--The pictures at Vizeu: 'St. Peter'--Antonio de Hollanda 10-17

CHURCH PLATE