Baroque Route

It arrived in Portugal later than the rest of Europe but also manifested itself here in full exuberance.

Subject to the concerns of the Counter Reformation and emerging in Rome as a mechanism for asserting the power of the big absolutist royal states and the Catholic Church, the Baroque used luxurious materials and techniques to provoke the fervour of the crowds, surprising, enchanting and amazing them in an artistic application characterised by grandeur that tended towards the spectacular.

It was during the reign of King João V in the first half of the 18^th century that the Baroque experienced its greatest splendour in Portugal. Outdoors is the magnificence and size of the monuments that impresses, while the interiors were surprisingly rich in ornamentation, with a profusion of gilded wood and azulejo tiles. In sculpture, painting, ceramics, furniture, textiles and jewellery, means of transportation and urban planning, the Baroque is also unequivocally expressed, with dynamic compositions enhanced by the emotional tension and naturalism of the figures.

Although the 1755 earthquake destroyed many of the buildings in this style, what survived to the present day is still impressive. So let's take a journey through the fascinating icons that illustrate Lisbon's ‘Golden Age.

 

During the 17^th century, Lisbon was recovering from the damage caused by the earthquake of 1531 and affirming itself as one of the leading cities in Europe. It was in this context that the Baroque started to leave its mark on the city’s architecture, religious art and life cultural of the city. One of the main exponents of the Baroque in Lisbon was the architect João Antunes, responsible for various emblematic works, such as the São Roque Church, built in the 16^th century and remodelled in the 17^th century. This church is considered one of the best examples of Baroque architecture in Portugal, with its simple façade concealing a stunning interior, richly decorated with gilded wood, azulejo tiles and works of religious art.

After the devastating 1755 earthquake, which razed a large part of Lisbon, including many Baroque buildings, the reconstruction of the city was led by the Marquis of Pombal, the powerful minister of King José I. This phase of reconstruction resulted in the creation of the so-called “Pombaline city", characterised by innovative urban planning and the introduction of seismic safety measures. The Pombaline city was designed with wide, straight streets, buildings built with reinforced structures and a new architecture that reflected the ideals of the Enlightenment.

During the 18^th century, the Baroque continued to leave its mark on Lisbon with grandiose works such as the Convent of Mafra, commissioned by King João V. This vast complex includes a palace, convent, basilica and one of the most important libraries in the country. The palace of Mafra is a masterpiece of Baroque architecture, with its imposing façade and richly decorated interiors. Another highlight of Baroque architecture in Portugal is Queluz Palace, built in the 18^th century, combining elements of the Baroque, Rococo and neoclassical, creating a unique and stunning aesthetic.

The churches of Lisbon also played an important role in expressing the Baroque style, with many churches and chapels richly decorated with gilded woodwork, azulejo tiles, paintings and Baroque sculptures. Furthermore, during the Baroque period, Lisbon became a centre for the production of jewellery and precious objects of art, contributing to the prosperity and the flourishing of the decorative arts in Portugal.

Despite the tragedy of the 1755 earthquake, many of the Baroque monuments survived the disaster and are still appreciated today, testifying to the cultural and artistic richness of this fascinating period in Lisbon's history.

 

 

1.    Playing Angel: A common representation in Baroque art, especially in religious sculptures and paintings, depicting angels playing musical instruments, symbolising heavenly worship.

2.    Azulejo tiles: Small glazed ceramic tiles, generally decorated with colourful patterns, widely used in the decoration of façades, building interiors and even artistic panels during the Baroque.

3.    Basilica: Type of Christian church that is generally longitudinally-oriented, with a central nave and one or more side naves, frequently used for solemn ceremonies.

4.    Chancel: The most sacred part of a church, usually located at the back of the temple, where the main altar and the most important liturgical elements are located.

5.    Peals: A set of bells installed in towers of churches and buildings public, used to play melodies and mark time, a common feature of the urban soundscape during the Baroque period.

6.    Cartouche: An architectural element in the shape of a medallion or shield, frequently used to display inscriptions, coats of arms or symbolic representations on Baroque buildings.

7.    Fountain: An architectural structure, often decorated, which serves as a public water source, frequently found in town squares and urban areas during the Baroque period.

8.    Cloister: Interior patio of a convent or monastery, generally surrounded by columns or arcades, used as a space for contemplation and meditation by the monks or nuns.

9.    Convent: A religious building where the members of a religious order lived and practised their religious life, often including churches, cloisters, chapter rooms and other facilities.

10.    Crucifix: Representation of Jesus Christ on the cross, a central image in Baroque sacred art, frequently elaborately sculpted in wood or metal and decorated with gilded details.

11.    Stucco: Decorative technique that involves the application of gypsum or mortar in ornamental reliefs on walls and ceilings, frequently used to create decorative details in Baroque interiors.

12.    Guarita: An architectural structure in the shape of a tower or dome, frequently used as a lookout post or to display bells in Baroque churches.

13.    Lampstand: An elaborately decorated chandelier or candelabra suspended from the ceiling of churches and chapels, frequently made of gilded or silver-plated metal, with candles or lamps to illuminate the space during religious services.

14.    Misericórdia: A religious and charitable institution that provided social assistance to the needy during the Baroque period, often associated with hospitals and chapels.

15.    Floral motifs: Decorative features inspired by nature, such as flowers, leaves and fruit, frequently used in paintings, sculptures and architectural ornaments during the Baroque period.

16.    Neoclassical: An architectural and artistic style that appeared at the end of the Baroque period, inspired by the ideals of classical Greco-Roman antiquity, characterised by simplicity, harmony and proportion.

17.    Oratory: Small altar or private chapel, often located in private homes, where the faithful could carry out their religious practices in privacy.

18.    Oratorio: A genre of vocal and instrumental music, generally composed to be performed in oratories, with religious themes and narratives.

19.    Palace: A luxurious building, generally associated with royalty or the nobility, which served as the official residence of the monarch or of other important figures, such as nobles and ambassadors.

20.    Procession: A religious ceremony in which the faithful parade through the streets of the city, carrying sacred images and performing prayers and songs, a common practice during religious festivals and Baroque celebrations in Lisbon.

21.    Lectern: An elevated structure in a church or chapel, generally made of wood or stone, from which clergymen preached sermons or gave readings during religious services.

22.    Altarpiece: a decorative structure placed behind the main altar of a church, often comprising various paintings, sculptures or reliefs, generally portraying religious scenes.

23.    Rococo: An artistic style that developed as an evolution of the Baroque, characterised by greater lightness, elegance and abundant use of decorative features such as foliage, shells and floral motifs.

24.    Vestry: Room inside a church where liturgical vestments, sacred objects and the elements necessary for the celebration of religious ceremonies are kept.

25.    Gilded wood: Wood carving technique used a lot in interior decoration during the Baroque period, characterised by the abundant use of gold leaf.

26.    Trompe-l'oeil: An artistic technique that creates the illusion of depth and three-dimensionality in paintings or sculptures, frequently used to decorate the ceilings and walls of Baroque churches and palaces.