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Portugal 114 | | 115 IGREJA of NOSSA SENHORA DO TERÇO CONVENTO DA MADRE DE DEUS Practical Information: Practical Information: Av | 113 PO RTUGAL Portugal 114 | | 115 IGREJA OF NOSSA SENHORA DO TERÇO CONVENTO DA MADRE DE DEUS Practical information: Practical information: Av. dos Combatentes da Grande Guerra 240/272, Rua da Madre de Deus, 4, 1900-312, Lisboa, Portugal 4750-267 Barcelos, Portugal 38.724671, -9.113816 41.533685, -8.618859 (+351) 218 100 340 (+351) 914 955 623 [email protected] www.museudoazulejo.gov.pt Opening times: Open daily from 10:00-12:00 and from 14:00-16:00 Opening times: Tuesday to Sunday from 10:00 to 18:00 he Convent of the Mother of God was commis- sioned in 1509 by the Queen Eleanor of Viseu. he primitive complex was modiied during the next centuries by several major remodelling campaigns: in the mid-16th century, John III commanded Dio- go de Torralva to design a larger church with a new choir. At the end of the next century, Pedro II orde- red repair the building and started decorative work. he 1755 Lisbon earthquake damaged the convent, especially the church, which was almost ruined. he king José inanced its rebuilt and restoration and commissioned new paintings. At the irst mid of the 19th century, the extinction of religious orders brou- ght signiicant changes to the building, which was adapted to a civil use, housing from then the Ma- ria Pia Asylum. In 1910, the religious complex was classiied as a National Monument and put under the authority of the National Museum of Ancient Art. In 1958, some of the spaces were proposed for the installation of a new museum. Created in 1965 and independent from 1980, the Museu Nacional do Azulejo (National Tile Museum) occupies at present parts of the convent as the church, the chapels of Saint Anthony and Queen Leonor, and the choir. © Joseolgon Noteworthy: he large blue and white panels of tiles he demolition of a convent in Monção to fortify the defences of the town made it necessary to raise a new building to that cover the walls of the main nave of the church house the nuns. hus, in 1707 the foundation stone of the Convent of São Bento was laid, being almost concluded in of the convent. In all of them are depicted scenes 1713. Despite the dissolution of the religious orders in 1834 and the nationalization of its properties, as a religious sis- (countryside and gallant themed on the north side © Alvesgaspar ters’ house, the convent remained used as such until 1842, when the last nun died. hen, the conventual dependencies and religious on the south side) that take place in natural landscapes and are framed by a border of acanthus scrolls. In were sold and, subsequently, mostly demolished. Of the whole complex, only the church of Nossa Senhora do Terço the lower part of some panels, naked putti and satyrs seem to hold the scenes above them. he panels, mostly painted has survived. At present, it continues to function as a place of worship. by Jan Van Oort, were placed there at the end of the 17th century, inanced by Luis Correia da Paz, deputy of the court of the Brazilian Board of Trade. Besides the church, the walls of the small cloister are also completely covered by tiles. Noteworthy: he monochrome igurative ceramic panels, made up of blue painted tiles on a white background, that Arranged in losange, and organized in groups of 4 creating a geometric pattern, square tiles with decorative designs in cover the interior walls of the church. he decorative program can be horizontally divided into three diferent parts yellow, blue and orange on a white background are interspersed with blue and white monochromes ones. bottom-up: in the lower are the panels with moralizing and maximum slogans in Latin and Portuguese; the central one presents scenes from the life of San Benito; and the tiles at the upper part, also with igurative scenes, stand out by the painted windows to contribute to the sensation of symmetry with the opposite side. As for the two ceramic panels located on the side walls of the main chapel, in they are represented two milestones at the beginning of the convent’s history: the foundation of the building and the entrance of the nuns on the day of its inauguration. he tiles located at the nave are attributed to António de Oliveira Bernardes, while the main chapel ceramic panels are signed by “P.M.P.”. © yeowatzup © damian entwistle © Joseolgon © Joseolgon 116 | | 117 ESTAÇÃO CIDADE UNIVERSITÁRIA (METROPOLITANO DE LISBOA) Practical information: Besides, in the platforms walls and the access corridors are depicted individually some igures and small elements of Cidade Universitária, 1600-192 Lisboa, Portugal “Le Metro” panel as well as the phrases: “I am not an Athenian or a Greek, but a citizen of the world” (Socrates) and “If 38.751921, -9.158632 I never died, and eternally seek and achieve the perfection of things!” (Cesario Verde), both in Portuguese. Both quo- (+351) 213 500 115 tes have been interpreted as the attitude towards the life of the artist Vieira da Silva. For last, it can be also highlighted [email protected] the abstract-style ceramic panels in the inal part of the platforms, depicting old neighborhoods of Lisbon, and several www.metrolisboa.pt/viajar/cidade-universitaria/ owls located next to big eyes which, according to some authors, symbolize the wisdom that is formalized in what the painter’s gaze registers and what her images show. Opening times: Open daily from 06:30 to 01:00 © Koshelyev © Koshelyev © Metro Centric Cidade Universitária is a Lisbon metro station of the Yellow Line projected at the end of the 1980s. It was designed by the architect Jorge Sanchez and decorated with the artistic interventions of the Portuguese artist Maria Helena Vieira da Silva, which were transferred to tiles by the painter and ceramist Manuel Cargaleiro. he metro station was inau- gurated on October 14th, 1988. © jaime.silva © Stefan Didam Noteworthy: he most of plastic creation of this metro station derives from the large ceramic panel located in the entrance hall. he panel reproduces in tiles the original work “Le Metro” (1940) by the artist Vieira da Silva. It represents a group of anon- ymous people who took refuge in the Paris metro to escape the bombings of World War II. Among them stands out a gown wearing igure (identiied with Socrates by some authors, since in this station appear quotes of this philosopher), a igure with a dress of Renaissance aspect and a writer with what seems to be a typewriter. On the top let is placed the self-portrait of Vieira da Silva, in front of the one of Arpad Szenes, with whom she married in 1930. In addition to human igures, there are many small elements, including a bottle, two cups, a dog, a cat, capital letters, etc.; all structured in a qua- drangular mesh background, suggesting the no- tion of fragmentation. he panel is signed on the right side with the pseudonym “bicho” (bug), an afectionate nickname of the artist. © Koshelyev 118 | | 119 MOSTEIRO OF SÃO VICENTE DE FORA MOSTEIRO DOS JERÓNIMOS Practical information: Practical information: Largo de São Vicente, 1100-572 Lisboa, Portugal Praça do Império, Lisboa 1400-206, Portugal 38.714850, -9.127640 38.697904, -9.206721 (+351) 218 810 500 (+351) 213 620 034 [email protected] [email protected] www.mosteirojeronimos.gov.pt Opening times: Open daily from 09:30 to 19:00 Opening times: Closed on January 1st and December 25th October to April from 10:00 to 17:30 May to September from 10:00 to 18:30 © Andrea Pravettoni he present building is a reconstruction of the Romanesque monastery of São Vicente de Fora, founded around 1147. King Philip II of Spain (Philip I of Portugal) ordered in the 16th century the rebuilt of the complex, in which project participated several architects in diferent stages. One of the irst buildings to be inished was the church of the monas- © xiquinhosilva tery, whose works began about 1585 and was completed ca. 1629, resulting in a single nave building with lateral cha- he construction of the Jerónimos Monastery of Belém began on January 6th, 1501, designed in the Manueline style pels, and a Mannerist façade attributed to Baltazar Álvares and lanked by two towers. In 1755, during the earthquake by Diogo de Boitaca, who was succeeded by Juan de Castilho. In 1550, Diogo de Torralva carried on the construction of Lisbon, it was damaged, losing the dome that topped the cruise. In 1834, ater the dissolution of the monasteries in of the monastery, continued from 1571 by Jérôme de Rouen until 1580, when it was stopped because of the union of Portugal, the religious complex was transformed into a palace for the archbishops of Lisbon. Some decades later, King Spain and Portugal. With the restoration of Portuguese Independence in 1640, the building became the burial place Ferdinand II of Portugal transformed the former refectory into a pantheon for the House of Braganza dynasty. In 1910, for the royal family. he monastery withstood the 1755 Lisbon earthquake without sufering much damage but from the monastery was listed as a National Monument. At present, it houses a museum dedicated to the sacred art. 1833, when the building was secularised by state decree, its condition began to deteriorate. Restoration works were undertaken ater 1860 and lasted until the mid-20th century. In 1983, the complex was designated as a World Heritage Noteworthy: he 103 cut-out ceramic panels painted in blue on a white background that decorate the cloisters of the Site by UNESCO.
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