Ê, EXP0SIç0ES tlrrERllAGl0]lAls ENTRE () JARDIM E A PAISAGEM URBANA

D0 pluicn DE cRtsTAt D0 P0RT0 (1065) Àrxposçno DE PARts (tell)

I ]ITERTATIO]IAL EXPOSITIO]IS

BEMEEN GARDEN AND TOrttlNSCAPE

rR0M THE P0RI0 GRYSIAT PALIGE (lSS5) T0IllE PARIS EXHlBlIl0ll (1937)

SERR,AIYEIS ABERTI'RA OPE1{I]lG

ANA PINHO Presidente do Conselho de Administração da Fundação de President of the Board ofDirectors ofthe Serralves Foundation r3

FILIPE ARAÚJO Vereador do pelouro da Inovação e Ambiente da Cãmara Municipal do Porto City Councillor for Innovation and the Environment l7

T]|TRODI,çAO I1lTRODUCTTOX

TERESA PORTELA. MARqUES Comissária da Conferência Conference Curator 23 DA rDErA E C0lrCErr0 DE EXP0SIçA0 Dos JÄRllllls Aos PAUiGl0s llE vllln0 da Natureza AO PAUiCIO DE CRISTAT DO PORTO E SEIÍS JARDIIIS Joseph Paxton e a lnspiraçäo

rR0M THE t0il A]{D C0I|GEPT 0t Ðposrilo]t FRllM GARIIEI{S Tll GTASS PATACES Joseph Paxton and the lnspiration of Nature TO IIIE CRYSTAT PATACT OF PORTO AilD ITS TARDEIIS KATE COLQUHOUN 33 87

pnocum pnoûRr$$o p0RT0 À [0 rtTnr 0 r I Ellnopl O PORTO ET il|EIDOS DO SÉGULO XIX Fotografia, Exposições lnternacionais, e caminho-de-ferro (1850-1900) Progresso e tradição entre rutura e continuidade Tllr 0llr$T ron PR0tRr$$ Btn|lrtl' p0RT0 ilr0 rlln0pr PORTO IlI THE TID.I9TH GEJIÎURY Photography, International Exhibitions, and Railways (1850-1900) Progress and tradition am0ng rupture and continuity

FILIPA LOWNDES VICENTE JORGE RICARDO PINTO 35 r05

A JARIIIIIS IIfl PAUíGIÍ| IIE GRISTAT IIfl PfIRTfl 1{AL lnovaçä0, experimentaçäo e influência Plano, Pavilhã0, Corolário PflRTfl GRYSTAT PATAGE'S GAR¡IE}IS THEWORLD'I5FAIR lnnovation, experimentation and influence Plan, Pavilion, and Aftermath TERESA PORTELA MARqUES MARC TREIB 127 65 puilrlililill EXP0S|ç0ES, PtAilEAMEilTo URBAil0 0Jtlilill il0 rj[81il0 il0 c0ilrilTt [[$ ilP0$l00t$ lllTtnlllcl0llll$ E fl PRflJETfl IIE JARIIIIIS. IIE IIIEAIIÍ|S 0 trabalho de J,C.N. Forestier em Paris, Sevilha e Barcelona pÄRts D0 sÉGUr0 xtx À ¡xpostçA0 ltE DE t937 üRlilt ilt üMil Pull ll lllt lll ill t c0llrufi 0 I lllT[RlllÏl0llil üf P0$lTl0lls The work of J,C.N, Forestier in Paris, Seville and Barcelona EXP0SIT|0ilS, URBAil ptÄilltIilG AltD sÉNÉDrcrp LEcLERc GARIT E lt D ES I G il. tRo it trt I It - lt I lt ETE E t{TIt GEIITURY Tfl TIIE 1937 PARIS EXPflSITIflII 177 t53 0 flil Dt tlir t$lt0-TlP0 ilffi tTP0slç0E$ lllTtnlllcl0llil$ Jacques Gréber, arquiteto-chefe da Exposição Internacional de Paris de 1937

A.EXPOSçÃODE 18G,7 TllE HtD ü A lr0nL0 ttP0$lTl0ll'$ c0llTnoLilllû $YtE Um marco para as cidades e os jardins franceses Jacques Gréber, Planner of the 1937 Paris lnternational Exposition

THE 1867 EXPOSITIOX DANILO UDOVICKI.SELB A milestone for French cities and gardens t97 STEPHANIE DE COURTOIS r55 OS JANDilS IIA ilP0srç40 DE r9gr Da Horticultura e Urbanismo à Arquitetura Paisagista? GINDEilS AT THE 1937 EXPOSIT¡OII Between Horticulture and Urbanism, Towards Landscape Architecture?

BERNADETTE BLANCHON 2t9 ElIGERRAMEIITO GroslllG

JOÃO PEDRO MATOS FERNANDES Ministro do Ambiente Minister of the Environment 245

NOTAS BIOGRAFICAS BIOGRAPHIGAL NOTES 255

TISTA DE FIGURÄS E GREIIITOS IIST OF FIGURES AIIII GREDITS 26t -l

Tllt 0lJI$t t0R Pn0tRI$$ ffll|lilll P0RT0 illl tlJn0Pt Photography, lnternational Exhibitions, and Railways (1850-1900)

FILIPA LO\Ir'NDES VICENTE

LOCAL-GLOBAL: PORTO, EUROPE AND BEYOND

Seeing exhibitions and travelling could be related experiences: the predominance of the visual, the hegemony of the eye. Reading could be present before, during or after the experience of seeing an exhibition or a country but vision dominat- ed the experience. Both were temporary experiences. To travel meant the passage through space and time. To see an exhibition was also a passage through time and space. In both travel and exhibitions, the traveller and visitor could be confront- ed by multiple layers of spaces and times - seeing the pyramids in Egypt, or its fragments exhibited at a European Museum, or seeing steam machines in an ex- hibition - the observer was challenged to move through the past to the future, from the future to the past. Intrinsic to both experiences - that ofgoing to an exhibition or that of travelling was the intimate relationship between knowledge and instruction. He or she should return home from a trip or an exhibition a rich- er, more informed, cultivated and empowered person. Of course, this is travelling as a leisurely experience, and not as other kinds of travelling that were akeady very common during the second half of the t9'h century. Those migratory itineraries that displaced thousands of people for economic and work-related reasons. As it happened globall¡ this was a period when many nations invested in developmental projects. \Mithin Portuguese historiograph¡ this period tends to be named Fontismo. The word Fontísmo, transformed into a noun, comes from the name ofthe minister Fontes Fereira de Melo, the engineer who instigated the de- velopment of railways as a way of improving industry commerce and agriculture. The dependence on foreign funds, mainly British, had negative consequences on

THE OUEST F()R PROGRESS BETWEEN P()RTO AND TUROPE 35

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I No. 499,-Vor.. rtx,l saT{tßDAY' JtLy 5, 1851. Two oø, i úù bbù.û.F d Nlt'ffi, TEN GA,EÀÎ EKtrIBITION. Elbù.'lMd{U@t toüt oBtftBÁt¡ ÁlrD MOEiltrMM xoDlÍ,g

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Fig. I Cover of The lllustrated London News'special ed¡t¡on on the Great Exhibilion of London, Sarurday, July 5, 1851.

national finances, with a resulting government instability that was voiced as the main characteristic of national politics during this period. The different threads of public works and policies were seen as the two sides of the same coin. One depended on the other, as could be seen in the most developed European nations that served as inspiration and goal. The develop- ¡ "\.-. .L::*:s¡.- ment of commerce and industry needed the development of transport. The Rail- way project was already anderway but Fontes, the minister-engineer made it a flagship of his reformist ideology. As a child, in 1853, accompanying his parents, the l(ing and Queen of , D. Pedro V was present at the laying of the first stone for the construction of the first railway line in Portuguese territor¡ while in 186r, as a young king, due to the early death of his mother, he inaugurated the line itself.' From the capital, , to Carregado, further north, it was the first step for the construction of a national train network. The link with the rest of Europe could only be with Spain, something that happened in 186¡. It was not untilr9zz that Lisbon and Porto hadarailway line to unite them.

Figl.2 Three photographic stereoscopies of the Cryslal Palace in Sydenham, exterior and inlerior, London, after 1860'

36 FILIPA LOWNDTS VICTNIT lI

The involvement ofthe Portuguese royal familywith developmental, indus- of difference and contrast to the most developed trial and modernization projects should be placed in a wider context in which the nations, those thatwere also the main coloÑsers. British Royal family was a determining reference. Prince Albert, the German hus- Other differences, determinant to understand band of Queen Victoria had been grearly involved in the making of the first Great Portuguese history during this period were the Exhibition ofAll Nations that took place in London in r8Sr. While the Queen wrote ones between different European countries. On ofher enthusiasm at the sight ofthousands ofher subjects moving under the glass the one side, there were those European nations, and iron roof of the Crystal Palace. "Crystal', because being made of glass, as the such as Great Britain or France, which were able actual daguerreotype which a decade before inaugurated the photographic tech- to organise the first universal exhibitions and nique that would be the most common one in the first decade of photography. dominate the most industrialised and manufac-

"Palace", because it was a special and distinguished building. However, unlike the tured displays (as the ones that had the capac- F¡g,3 Cover of the book Crystal Palace Viewg London, Sydenham, undated. Photographed and published by J. Russell & Sons. palaces as closed elitist spaces, destined for only a few privileged, these palaces iry to invest in a railway nenvork). on the other, were democratic spaces, destined to the masses, and open to all. Exhibitions were those countries, such as Pornrgal, which were, incorporated within the rites of the monarchy. And the enthusiasm of D. Pedro V as it was often repeated, at the further end ofthe with these events and what they meant was certainly related to his close relation- Iine. Those that could mainþ display agricultural ship with his uncle Prince Albert , afrgure of reference and an object of admiration and handmade products, and where industrial- for the young Portuguese prince who was an assumed enthusiast of all that could isation was still an effort. Portugal was here. In be placed under "Tgth century Modernity''. the "suburbs ofEurope". Conscious ofthe model London's Crystal Palace was not only an architectural prototype, a mate- that should be sought after and making much rial model of a building, but an idea, an idea of sharing world knowledge with all effort to participate in the discourses and prac- and including these in the values proposed by exhibitions. The great quantity of tice of contemporary þrogress". \Mhile being written publications that surrounded the opening ofeach ofthese events are rich permanently confronted with the difficulties of in words of progress, modernity, industry, openness, improvement, and amelio- engaging with this paradigm. Figt 4 Pholograph published in lhe book crvsral Palace v¡ews' ration. Positive, symbolic, words that should transform all visitors into enthusias- There is a permanent dichotomy within tic subjects (within the Monarchy) or citizens (within the Republic). London and the elite discourse on Portuguese engagement Paris were the most obvious examples of this model which was soon appropriated with the challenges it faced: the consciousness ofwhat was going on abroad further globall¡ not only in Europe, where Porto should be included, or the United States north, and the incapacity to establish an equal dialogue. The willingness and effort to ofAmerica, but also in places such as India or Australia. appropriate the paths of modernity- from the building of railways, to the making of As Tony Bennett theorized,the public at exhibitions was meant to feel empow- exhibitions, the urbanisation ofcities, the improvements in education and health, the ered by the sights andvalues that were transmitted through the displays. These masses development ofthe country/s natural sources through mechanical possibilities and the moving slowþ across the exhibition space were not the scary agglomerations of people efficient domination and exploitation ofcolonial territories - contrastedwith the im- that threaten the state hegemony and challenged the idea ofcontrol. These were orderþ poverished countrywhere a discourse of%ehindness" and "backwardness" embedded masses, enjoying the privilege ofwitnessing the benefits ofthe r9ú century culture ofin- the national mind and the national printed public sphere. dustry, capitalism, global commerce, and mechanical productivity. Ofcourse, what these The International Exhibition of 1865 has to be understood with this per- exhibitions also showed- and reinforced-were the profound inequalities within the manent tension. D. Pedro V illustrates this tension well. During a few months in world map. Different kinds of inequalities. Colonial territories, more and more visible r85+ and 1855, he travelled widely in Europe. This was perceived as an educational in exhibition spaces, throughout the second half of the 19th cenûrry, were the epitome rite ofpassage before occupying the throne at the age ofeighteen. His Europe was

(IUEST 38 FILIPA L(IWNDES VICENTE THE Ft)R PR()GRESS BETWETN P()RT() AND EUROPE 39 I

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not the classical Italian culture sought by r8'h cenrury British aristocrars within srages ofthe exhibition. But because theywere the model of the Grand Tour. His Europe was not centred in the past, in ruins, or also the hosts for the L873 event, Fradesso Meffiçr¡Ts in history. It was a Europe of iron bridges as monuments of sophisticated engi- da Silveira gave France and Belgium as oth- RÃE^ ht6ilD^ E PoRrlru r, m ftu\cÊRo neering, one of industrial technolo gy and exhibitions, and one where history was er - good - models in stark contrast to the present, but through the classifìcation and display grids of museums, books, and Portuguese case. These were countries cau- CHROMC^ OCqDENt^t the overall culture ofdisplay. tious with their public expenditure and with lt:i:,:.rrr"'**' a tight administration to control public money. I could never forget the hours I spent ølmost øIone øt the pøløce of Industry; ítwøs Howev er, national representations at universal my møín amusementin Pøris; ønd I took øIl the opportunities to enjoy it. Today, exhibitions were considered in the collective when wrihngs these línes, so møny leøgues øwøy from Pørís, ønd surrounded by interest and therefore subject to investment. the troubles of ø posihon thøt no one should envy ønd thøt I do not desire for øny- The Portuguese government, on the one, thøt senhment of øttrøction I felt is even deepen Now I only høve the conso- coîtrary, had disengaged itself in different Iøtion of remembenng the past. Whøt would I not gíve to see London, Pøris ønd ways from the national representation at the Berlín øgain, even just to step on the jettêe of Oostende. Goodbye pøst! Andwhøt event: the permanent deficit sewed as the ex- øbeøutifuI pøst itwøs.' cuse for not spending money; but even those matters that were not dependent on material The emblematic space of D. Pedro V's travel experience, the "Palace of In- investment were ignored by the government. dustry/'was, again, the combination of the word of the pasr known to all - "pal- Fradesso da Silveira thoroughly analysed the ace" - with a word of modernity - "industry''. Part of Europe was where the fu- case of Belgium to contrast it with the aban- :,¡f ¡ ture could be seen, the laboratory where one could learn how to be modern. The donment ofthe Portuguese State's responsibil- F¡g. 5 Cover of the magazine Bevista Occidentewilh lirhography photograph of the Lisbon Geography Society's future he had seen abroad was now his past. ities: not creating a commission, not prepar- made from â Portuguese Pavilion at the Anlwerp Exhibition, Seprember I, 1885. The words of the prince were not that different from those of some of the ing the necessary studies, and even refraining countqt/s enterprising elites. Fradesso da Silveira published intSzzan essay onThe from making the necessary publicity.'Fradesso ,: -, (è:'' r Støte ønd the Etchíbitíons: "something that cannot be discussed, because it cannot be da Silveira was a relevant name within the contested, was the utility that each hation could derive from knowing what was the promotion of industry having favourable re- state ofindustry in other nations, displayed through a universal exhibition ofprod- lationships both in Lisbon and Porto. He was ucts".' This essay was written as a strong critique against the Portuguese for not par- one of the main promoters of the Associação ticipating officialþ in the r8z Vienna Universal Exhibition. As he argues, Portugal Promotorø dø Inditstriø FøbnI in 186o, and its "expected from particular initiative that which abroad has been done with the efforts president from 1863 to 1825. His criticism here of offìcial initiative!". By saving the economic deficit, Porrugal was, as he denounced touched on a sensitive issue that was a perma- c¡brs udPogrm, in an argument that would be intrinsic to national history throughour many decades, nent matter within all politics of improvement ¡t¡r ú!¡h ¡ creating " a deficit of instruction, of resources for progress and wealth". and development - the tensions between pri- Fradesso considered exhibitions as rhe besr diagnostic tool to evaluare vate initiative and state support. the state of industry and qiticized the failure of the Portuguese state ro supporr This was certainþ relevant for the case of F¡gt 6 Two exhibitor cards of Ernesto da Silva, with his photograph. card to the Expos¡tion these events, leaving it for the initiative of private industrialists. The German the International Exhibition ofPorto. The Royal On the left, the access Universelle of 1878, Paris; on the right, the access card to Empire is given as the opposite example, one where the state invested greatly at all family gave its symbolic support. However, the Portuguese lndustrial Exhibition of 1888, Lisbon.

40 FILIPA L()WNDTS VICENIE THE (IUESI F()R PR()GRISS BETI'/EEN P()RT() AND EURI)PE 4I than evaluating its tfülity, something necessarily subjective and impossible to measure, is to recognize what it meant. To organize an exhibition with the word "inrernational" in its title and to build a specific "crystal palace" to host it, meant a thorough effort to participate in the discourses and practices of "modernity''. It meant to have a voice, even ifa quiet voice, in the uneven dialogues ofprogress where some European nations could clearly speak louder than others. Exhibitions, railways and photography were contemporary inventions. They were born around the same time and grew simultaneously and in inter- rwined ways. They were the result of industrial urban societies, but also its pro- moters. Their histories and uses crossed each other in multiple ways. Railways were amajor motive for photography, their construction having all the literal and metaphorical signs of human technique conquering nature. Exhibitions became more popular because there were trains to bring people to see them. The technol- ogy that was used to build rcilway lines, bridges and stations was one that was widely displayed inside exhibitions and in the exhibition buildings themselves. They had a major impact beyond its locale, because lithography and photography multiplied their effect and reproduced their sites and sights. Exhibitions were ma- jor spaces for the display of photography. And photography multiplied the effects of exhibitions through its reproductive possibilities.

FRAMING TIME AND SPACE: PHOTOGRAPI{Y

Aþeady commonplace by the mid-rg'h century the word "exposition" or "exhi- bition" was used to designate the temporary events/spaces that proliferated

F¡9. 7 Two photograph¡c stereoscopies. Ajuda Bolanical Garden, Lisbon. Undated. throughout the world, and not only in those most developed countries that cre- ated the model. Its aim was to "exhibit" objects, products, and art works, but also its making was greatþ reliant on the reso¡.rrces and efforts of a local elite of men who plants, animals and even people - everything that was considered "lookable" and believed in the advantages of such initiatives. The governmenr was absenr both with "observable" in the same space, under a classificatory críteúa established before- support and financing. After the 1865 Porto Exhibition, it was also Fradesso da Silveira hand. These classifìcatory criteria changed constantly depending of a wide pan- himselfwho pointed out the risks of such an hegemony ofprivate endeavours wirhour oply offactors and contexts. In Portuguese or French the word "exposition", also a major state support: the lack ofofficial and unifying directions for exhibitors meant had embedded a strong religious meaning - to expose an object of veneration, that what was on display at the Palácio de Cristal was not truþ representative of na- prayü and devotion, from a relic to the consecrated Host. tional production.5 "Exposition" is also a fundamental word within the language of photography to be fixed Porto was the only place in Portugal where there was an industrial and - the exposition to light is what enables that which is in front of the lens commercial elite capable of such an ambitious event. And, much more important through the camera and be transformed into a photograph. The times of exposition to

42 TILIPA L(]WN[)ES VICENTE IHE ÍìUEST F()R PROGRESS BETWEEN PORTO AND EUR()PE 43 light determined the ways in which movement identity, and the existence of an elite of men interested in all the technological printed was in the image - if the exposition of novelties ofthe century. On the other, its cosmopolitan communify of local fam- Iight was longer, the movement ofwhat was be- ilies who travelled frequently and of foreign families traditionally linked with ing photographed was transformed on glass or the production. It is not by chance therefore that amongst the main on paper, into a blurred effect which contrasted photographers in Portugal of the second half of the r9'h century arc many British with the clear and sharp definition that should names from Porto. Frederick Flower and J. James Forrester, for example, both be the aim ofphotography. representatives of the industrial and commercial British community who lived Photographs ofexhibitions in the earli- in the region. From its invention until the late r9'h century, taking photographs er decades apprehended this dichotomy -be- was still an activity that demanded time, money, expertise, and the background tween the immobility of buildings, sculprure, culture required for the reading of the many publications on technical matters objects, pavilions and products, sharp and de- that accompanied its rapid developments. fined, and the contrast with the movement of Amongst the entangled histories of photography and exhibitions we human life or even with industrial machinery canrefer to the case of fames Forrester's participation in the Portuguese rep- showed in activity, and therefore diffuse and resentation at the 1855 Parisian Universal Exhibition, the second to take place diaphanous. Implicit in all these meanings of internationally, and the first to take place in Paris. The exhibition already had Í'exposition" is both the hegemony ofvision, of a specific section for photography. D. Pedro V and his brother D. Luis - the human capacity to see, to look, to observe with young Portuguese princes on their European tour - were on display on the a specific aim, and the idea ofthe temporary. walls of this section. Shortly before they had taken their portrait at the pres- Photo graphy and universal exhibitions tigious photographic studio of the French photographers Mayer et Pierson. had both a parallel and an interrwined history. However, Portuguese photographers were not represented in this section. Ac- They appeared around the same dares. Pho- Ernest Lacan, a French writer, Forrester (1809-1861) Fig, I "The photograph'. Phorograph¡c posrcard, col. "Les Arts,, cording to |oseph James no.9, Éd¡rion Phototyp¡e A. Bergeret et Cie, Nancy, France, c. 1g00, tography's birth date is 1839 but its diffusion had sent some liews of the Alto , and other proofs representing differ' and globalization really srarr 10 years larer, by ent customs of his countrf' tobe exhibited in the photographic section.6 And, the mid-rg'h ceîtury, preciseþ ar the time ofthe first internarional exhibition, the lamented Lacan, it would be a pity if the photographs "remained unknown". London Greøt Exhibition of t9st. Both technologies of knowledge and vision were The fact that his photographs were not exhibited was indirectly explained by also hegemonic during the same period which lasted rhroughout the second half Forrester in the booklet he printed for "his friends" on his experience of the of the r9'h century and the first decades of the zo,h century. Even bearing in mind exhibition. He complained how many of the products he had sent had got lost the artificiality of such chronological beacons, and the permanence of both pho- along the journey from Porto and Paris.' Travel was not only the most com- tography and exhibitions as central phenomena of our contemporaneity,we can mon metaphor to describe the experience of exhibitions. Exhibitions we¡e only find a frontier by lare the r93os, ar rhe eve oftwo globalised events - the second possible because both objects and people travelled, even if some got lost along world \Mar and the political emancipation of many former European colonies the way. Forrester, agronomist and amateur photographer, was participating from the r94os onwards. After this date, we could argue, there was a multiplica- in the Parisian exhibition with his products, and was, moreover, a major organ- tion oftechnologies ofvision, display and propaganda that somehow subdued the izer of the Portuguese agriculture section. mainstream relevance of photography and exhibitions. Forrester managed to be present at the exhibition as an agronomist porruguese It is not surprising that the city of Porto became one ofthe main but not âs the amateur photographer that he also was. only within the cata- centres of the photographic practice. on the one side, due to its industrial logue he printed of the products sent to Paris was he able to combine both his

44 FILIPA T(IWNOES VICENTE THE ()UTST Ft)R PR(]GRESS BETWIEN P()RT() AND EUR(]PE 45 I

identities, that of agronomist and photographer: the cover has a photograph ofthe same frame of mind, a recent invention, a pasted to the paper.' At this time it was not yet technically possible to print tool of progress, a machine that combinedvision photographs directly on paper, but many books already combined both printed and technique for a wide array of uses. Baptista word ind printed photography by sticking them in the publication. By showing Ribeiro and Miguel Novaes, locals, experiment- a display of objects, dominated by some dozens of wine bottles, the image has a ed wideþ with daguerreotypes after learning the direct relationship with the contents ofthe catalogue. The first class silver medal technique from Corentin. Novaes did it as a pro- obtained in Paris for his 'Vinhos do Douro" somehow compensated his efforts fessional, opening his studio in Porto in 1854. Do- to "regenerate the ways of fabricating the wines" and to "emancipate it from the mingos Pinto de Earia (t827--t9zt), later became excessive supervision of the non-liberal laws".n one ofthe financial promoters ofthe Internation- Forrester, with his friend the Scot Frederick William Flower (1815-1889), al Exhibition ofPorto, while being involvedin diÊ and Hugh Owen, were the main photographers of Porto and its region in the ear- ferent initiatives related to the city's development. lier photographic period.'" The fact that Great Britain was an especialþ favourable AIso in 1854, the year when the young context for the development of photograph¡ must have been relevant for their prince D. Pedro V was travelling in Europe itineraries as knowledgeable amateurs. While Flower made the oldest known im- as an educational preparation for becoming ages of Porto, Forrester used photography as part ofthe multiple ways of knowing king, the writer and director of the Public better the land where he produced wine. Maps, Iithograph¡ aird drawings were Library of Porto, Alexandre Herculano, was next to photography as instruments for framing the Douro and making both being photographed by loáo Baptista Ribeiro it F¡g. I Portrait of a boy. Carte-de-Visite. Photographed a source of pleasure and of production and prosperity. A practice that was still (tzgo-r868). As it happenedwith many practi- by Fillon, undated and wifh no other reference. defining the frontiers between amateurship and professionalization meant that tioners of photography, Baptista Ribeiro was soine ofthe best and most daring experiments with photography could be protag- a member of the male elite that possessed diÊ onised by amateurs, while professionals could be limited more by the convenrions ferent specialized knowledge. Director of the of studio portraiture and the demands ofcommissioners. Acødemiø Politécnicø, he was a painter, sculp- Another kind of photographer -vety common througþout the second tor and engraver, which meant that he al- half of the 19th century - was the itinerant photographer, a professional whose ready had a formation which, by associating travelling could bring benefits to the locals through the novelty of his passage. vision and technique, provided the favoura- The itinerant photographer was very often a foreigner; indeed some ofthe major ble ground for the development of photogra- $ practitioners ofPortuguese photography were not Portuguese. This was a glob, phy. Latet, on his second passage through al phenomenon: photographers became travellers, and a great number became Porto, Corentin was experimenting with the known for the photographs of spaces and places that had norhing to do with photographic technique of collodion, leaving Fig. l0 Family portrait. Card format. Casa Alvão, nationalities or places of origin. the more complicated daguerreotype behind. Porto, undated and wilh no other reference. P.I(. Corentin, for example, had stayed in Porto for a season, in 1853, receiving Paper instead of glass was a change of mate- clients in the afternoon, while also teaching the photographic technique ro a group rial that made photography cheaper, easier to reproduce and handle, and there- of men from the city's enterprising elites: Miguel Novaes, Domingos Pinto de Far- fore accessible to more people instead of only to a small elite. Paper could also ia, and probabþ also João Baptista Ribeiro." A year before he had akeady published a be sent as correspondence in a much easier way, making photography a major Treøttse on Photogrøphy in Portugal, thus reinforcing his pedagogical legitimary. For travelling object. First, inside an envelope. Later in the t9'h century, printed on these men, involved in the industrial making of the region, photography was parr the back ofa postcard, with the invention ofthe photographic postcard.

(ìUTST 46 FILIPA TOWNDES VICENTE THE Ff)R PROGRESS BETWEEN PORT(] AND EUROPE 47

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The French Fillon was another foreign photographer who opened a stu- hand, there had already been previous "industrial exhibitions" in Portugal. on the dio in Porto, iî 1859, after acquiring his fame in Lisbon." Camilo Castelo Branco other hand, the international dimension was meant to place Porto in the genealogy was photographed in his studio. Around this period, Fritz, another well-Jcnown of international exhibitions that by r86s aheadyhada few examples: London, t85t, photographic studio owned by a German couple, opened in the ciry." By t862, the Paris, t855, and London, t86z were the main examples, but many other smaller multifaceted Possidónio da Silva, architect, photographer and archaeologist, was cities had hosted exhibitions with some kind of international ambition between photographing Porto as part of his wider project of making images of the main ßSt and 1865. An unknown photographer made some stereoscopic images of the Portuguese monuments.'4 By 1865 photography was already suffìciently consoli- interior and exterior ofthe Crystal Palace, some showing the steam and hydraulic dated to be an acknowledged presence at the Exhibition oft865. A photographic machinery that was on display." album of the Crystal Palace was symbolically presented at the opening ceremo- Exhibitions were the most contemporary of spaces. They incorporated the ny." The exhibition also had a photographic section: from Porto, Francisco José many spaces and times ofthe world; exhibited the latest industrial inventions next to Rezende, Henrique Nunes, foão Augusto de Castro, the Fotogrøfiø NøcionøI, Sølø & the products from the European colonies or the Fine Arts; appropriated many of the Innão andthe CøsøTølbot.Eritz dídnot participate because it belonged to the jury. ideas and display technologies of spaces such as museums, department stores, facto- From Lisbon, Alfred Fillon, Francisco Xavier Moreira and José Nunes da Silveira. ries or urban cities. The fact that exhibitions enabled the viewer to travel was the most From abroad, the photographers Charles Nègre and Poitevin. Within the classifì- repeated metaphor of contemporary writings on exhibitions. By bringing together cation typology created for the exhibition, photographywas placed in the Fine Arts what was considered to be the most representative material culture from diverse plac- section, next to architecture, oil painting, watercolour, engraving and lithograph¡ es, they enabled the visitor to travel the world, with the fast pace of contemporaneity. but finally the photographs were dispersed without any apparent order." Their fictional frontiers recreated a microcosm of the world that metonymicaþ em- In Porto as in Portugal, photography was still predominantly a male field. powered the visitor/traveller. By seeing and learning, he or she also became in posses- There would have been women practicing in the private sphere of the privileged sion ofthe worldknowledge thatwas on display. The "exhibitionary complef', as Tony classes and there were a few photographic studios owned by women, but Margarida Bennett so well theorized, placed its visitor at the peak of civilization and progress, Relvas, Carlos Relvas'daughter, was exceptional in the sense that her name ap- those 19'h centurywords that seemed to signify all that was valued.'o peared as "photographer" within exhibition catalogues. She was the only female Already in 1865, a Commission formed by illustrious men published the re- name at the major photographic exhibition in 1886 at the Porto PøIâcio de CristøI: port on the Porto exhibition, which had opened on rSth Septembe r 1'865." As always the Exposição InternøcíonøI de Fotogrøfiø." Its international scope made it the first of happened, these were long prepared projects, its kind within the and one of the first worldwide. It was organ- which meant that by the opening of the exhi- izedbythe men linked to the photography firmModernø,the same one that created bition itself there were already many years of . ORYôTñL FñLROE' in 1884 and t885 amagazine on photography, AArte Photogrøphícø, also in Porto. turning an idea into a practice. Negotiations, difficulties, conflicts, drawbacks, were part of this previous phase. In the case of Porto, the DISPLAYING TIME AND SPACE: EXHIBITIONS fìrst symbolic moment of the future interna- tional exhibition of 1865 was the laying of the 16 Colo¡¡¡¡d Püotogrqb In 1865 Porto hosted the first exhibition with international ambitions within the first stone in r86t within the context of a small Çt û, Mca rld i.': Portuguese territory: Exposição IndusfiøI InternøcionøI do Porto e dø Penínsulø." With industrial exhibition ofa national character. ; .: the encompassing aim of displaying all representative objects and products pro- In a moment when ideas of progress and in- ÍiE,L Crystal Palace, Guide and Souvenín London, Sydenham. duced in Portugal, and, as it title suggested, also beyond national borders, the dustry had been made more common with the Printed album with colored photographs, ediled by Henry Gillman with photos of Russell & Sons, undaled. exhibition should be placed in a genealogy of previous exhibitions. On the one COnteXt Of FOntiSmO, the ASSOC1øçãO COmerCiøI

(IUEST 49 48 FILIPA L()WNf)ES VICENTE THE F()R PROGRESS BETWEEN PORT() AND EUROPE do Porto organized an exhibition at the PøIácio dø Bolsa." The entrance was domi- ._)Ê._ nated by the presence of a big steam machine and other smaller machines. '- , ''tr I When the painter João Christino da Silva wrote on his visits to the exhibi- ¡ h tion, he described the medal that was made to commemorate the event: on one side the portrait of D. Pedro V, the king of Portugal who had died shortly after laying the first stone for the exhibition building in 186I. On the other side, the glass and iron building inaugurated in t865, seen in perspective.'3 The man ultimately responsible for the nation and the building were the two images chosen to symbol- MÉÞAILLe Þ'oB ) ically represent the exhibition. The fact that l(ing D. Pedro V had died tragically at the age of 24, only 6years after assuming the throne, may have contributed to the honour of being the main person to be associated with the exhibition. The build- I ing on the other hand, was materially and visually synonymous to the exhibition. ,;,, Made of iron and glass, the Pølácio de Cristø\, appropriated both the architectural { ,:41 model and the name from the first such building the London Crystal Palace, -v - ¡les'li¡ro¿¡¡rf 'l)ltutoqrapltrqrrcs temporarily constructed at Hyde Park for the Great Exhibition of r85r, the first oer¡f0Ufl tlff'ût ever of such events that had an universal aim. 52,ãi,c,,uc ¿ .l'¡2 ç'' "'lþrlctcuil'-1' The words "Crystal Palace" combined the new archetype of architecture ,fu\{ß, with the name that was already rccognizedworldwide for this kind of building. ïl I Theoreticall¡ the materials enabled the structure to be mounted and dismounted, J.cs (llir:hós to¡ìl (:orìsclv(ìs

Prur 0v0ir ics Portmits senìrhirlq: ¡ì r¡tilì! [l r ¡pptlu cn l{9 ': ":f]fR adapted to the temporary nature of exhibitions. The glass - the crystal - made ''È it transparent, allowing the visualizing advantages of natural light. While the iron had the symbolic status of being a "modern" material, the product of t9'h century Fig. 12 Photographic portrait at the Eiffel Tower in Paris. Card format. Souvenir of a visif, after 1889. Front and back. industrialization that merged engineering and architecture to build all that was new in the l9'h century: railways, iron bridges, and later, non-utilitarian buildings such as the Eiffel Towet.^ This monument of the 1889 Parisian Exposítron Univer- Exhibitions"." Castelo Branco then goes on to comment how Portugal emerged sell¿ somehow disruptedthe utilitarian possibilities ofiron, making it a mere "tow- from these classificatory and exhibitionary excesses ofthe world. er for seeing the cítf' , the luxury of having a bird s eye view over the city of Paris, for those visitors/viewers that symbolically akeadyhad it all. Everythíngthøthøsbeenwntten, søid,ønddone,bythePortuguese,ínwhøtexhibinons As happened with all temporary "universal" exhibitions organized world- øre concerned,whenitisnotødiscredítforPortugø\,ís øuselesstøsl

THE OUEST FOR PROGRESS BETWTTN PORT() AND EUR()PE 5I 50 FILIPA LOWNDTS VICENTE Ir

The"Ialío" Castelo Branco refers to is Júlio César Machado, the journalist that Governments invested in their making, by p^Vngthe specialists that saw the exhibi- went to London to visit the International Exhibition of ß62, the second ro take place tion, wrote on iq and then published the results. Exhibitions were seen as spaces for in the city and the onþ major one to take place before the'one in Porto. Machado, study and learning, learning what each country should aim at. By displaying "alY that the popular r9'h century iournalist lamented how the Portuguese representation had was available in that date and in different spaces, they "framed'time and space at a arrived late in London.'u Most of the objects arrived long after the exhibition had particalar moment. However, usualþ after a few months they closed their doors. The opened to the public, which had negatively affected the nature of the display. He catalogues and reports, as well as the lithographs, and later in the century the photo- then added how "our wheats were very observed', and "our wines produced, in the graphs, were the permanent frames that were meant to multipþ the beneficial effects opinion of our faithful allies, that most dazzlingand sincere effect''. Camilo Castelo ofthe temporary displaying ofobjects and products. Branco added the irony that Julio César Machado did not grasp. Other, smaller and more specific publications, tended to concentrate on a This discourse of"atraso", backwardness, being "behind" progress, indus- specific subject.An example couldbe that ofthe booklet on the ImprensaNaaonøl,the trialisation and moderniry, as could be witnessed in Europe, is a dominant sub- National Press, and the publications they presented at the 1865 exhibition." Based in ject within all kinds of writings produced in Portugal in the second half of the Lisbon the National Press had a major role in official publications, from pedagogical t9'h century: from correspondence, reports, travel writing, catalogues, newspaper exercise books to be distributed in schools, to luxury editions and leaflets ofpublic articles and parliament papers. Sometimes, in a serious tone of denunciation. Of- events. The representation sent to Porto was similar to the one sent to London for ten, as in Camilio Castelo Branco, and other prominent Portuguese writers, as Eça its t86z exhibition, 3 years before. As was common practice, exhibitions were relat- de Queirós or Ramalho Ortigão, in the ironic tone of those who could make fun ed to each other in informal and formal ways. Informall¡ knowledge gathered for of themselves because, somehow, they knew better. The discourse of the national one event was often used for another, as happened here. Formalþ some exhibitions "atraso" is inseparable from an elite that travelled beyond national frontiers, that were seen as a preparatory stage forbigger exhibitions and, often, national exhibi- related to a cosmopolitan culture, and that could criticise the local politics, minds tions were put up as a first stage in the preparation for international ones. and practices, because they had seen and lived through other national contexts. The printing industry was one that was particularly permeable to the As part of this excess of written words printed because of and øbout exhibi- technological developments of the period, and the National Printing Press in- tions, a few reports were published on the 1865 Porto event. The catalogue had the vested in the display of the mechanics of the process, from the machine on show, ambitious scope of congregating all information on the exhibition. It was consid- to the final results in the form of books or lithographed maps and prints. The ered the offìcial publication, that which better summoned - keeping it permanent- small catalogue to accompany the exhibition display was seen as a tool for the jury þ - the knowledge that was, temporariþ on display. The catalogue was prepared viewing public, but also as an instrument for the exhibition to make a more before the exhibition itself, theoretically being ready at the same time as the opening informed decision. To have the word "international" in the name of an exhibi- of the exhibition. It was the written tool that should accompany an evenr that was tion meant, fìrst and foremost, that the different nationdl productions would be predominantþ visual. What remained after the closing of the event? What framed confronted. And, from this comparison, there would be winners and losers. The juries the knowledge - all kinds of knowledge - that had been on display? officíal jwy, usually different boards of for the different categories on dis- If the catalogue was the before, the report was the after. While the general play, was in charge of deciding what were the best products and objects within catalogue gathered together all the information that was on displa¡ and the specific each section. "Its products cannot compete, certainly, with those, of the same catalogues collected information on a specific category, they did not make the con- nature, which are sent by those more developed, more prosperous, and much clusions and comparisons that were the function of the report. The report tended more powerful nations", stated the catalogue, wishing however, to see the iury to be more specific, concentrating on one kind ofproduct from the different na- valuing its efforts and progresses." represented and a "state took place in Portugal after 1865. In 1888 tions therefore enabling universal ofthe ar( - all that was Other industrial exhibitions done and known globalþ on a particular object. Reports also tended to be offìcial. there was a major one in Lisbon, certainly as a way of preparing the Portuguese

52 FILIPA LOWNDES VICENTE THE OUEST FOR PR()GRTSS BETWEEN PORT() ANf) EUROPE 53 at the 1889 Paris Exposition . exr:osrçÃo representation \Mhile in 1891, the Exposição In- TXSI}I,ÀR Nì SOT,8 }IIÀI1 Universelle. PORTUGUEZA dustrial Portuguesa took place at the Pølâcio 1890 the Conde de ,eO¿ de CrystøI Portuense." By Samodães could already write an historical PÃtÀct0 D8 cnY$TAr P0aTUEt{$t sketch of the Porto's Crystal Palace''o In 7894 a more encompassing exhibition took place J'{." ry in Porto and Samodães had a determinant role in its making: Erposição Insulør e Colonial Portuguesø em 7894.3' Not with an interna- Fig; 14 Porto's Crystal Palace, photographic and illustrated happened almost 3o years .r'¿*.lz+,r'/ a-- tional scope as had posrcard, c. 1900. before, but with another dimension that was -¿4'a-

F¡g. l3 Letter excerpt by the of Samodães (Chairmân of the organizing committee of the exhibition), Porto, Palácio de Crystal Portuense, Augusl 25, 1893, on the lnsular and Colonial Exhibition that would lake place in fhe Crystal Palace the following year.

.IHE OUEST F()R PROGRESS BETWEEN P()RTO AND EUR()PE 55 The pay difference depending on how good they were in their tasks. The implement- ing ofindustrialization also depended on different kinds ofinequalities and conflicts. Women were an active part of the industrial tissue. They worked in the factories, their lower salaries, much lower than those of men, being beneficial for those who hired them. During this period, in England for example, women were already involved in their emancipation but they tended to concentrate on the right to education, or the right to own and manage their own property and money, an attribute that the law granted to fathers and husbands. However, the enormous pay gap between work- ing-class women and men was not yet a strong issue, nor were other demands related to work conditions. Later, photograph¡ and even exhibitions, also became tools ofreflec- tion on work conditions and the improvement of the workers' rights and lives. As much as the level of a nation's industrialization, the implementation of railways was another significant marker of progress with a close connection with industry itself. The more advanced a nation's industrywas, rhe more territorywas covered by railways. When D. Pedro V travelled in Europe in 1854 and 1855 - mosr- Iy by train he reflected upon the fact that Portugal had nor yer initiated the pro- F¡9. l5 l"r Portuguese - Colonial Exhibition, Porto, Porlugal, 1934. Phorographlc postcard. Casa Alväo, no. 63 - Palace of the Colonies, 1g34. cess that was already so developed elsewhere:

Aslong aswe do nothave øtleøst one røilwøylineto uníteuswiththe civilisedworld, SPEEDING TIME AND SPACE: RAILWAYS AND INDUSTRY øs long øs we høve brutes who wnte thøt ø røilwøy unitrng us with Spain ís ø threøt to our independence, ønd thøt trøin wøgons cønnot høndle greøt weights, we shøII porto, When the first photographers were opening rheir studios in the city of around renounce to be ønything øt øII, becøuse we shøII become børbøríøns ønd thus belong 1852, there were almost hundred commercial 5oo establishments with more than six to the Europeøn Conhnent only by fact ønd not by nght.'u thousand workers, women and men." Almost halfwere dedicated to the production

ofcotton. The ciry itself its urban tightness, irs srreers and houses, along with archi- The railway reaching the Spanish frontier only opened in 1863, but in 1856, tectural monuments within the region, was also part ofthe sights photographed by shortly after D. Pedro V started his reign, the Cøminho e Ferro do Leste was inaugu- Frederick Flower. The commercial ciry where the river Douro played a major role, rated between Lisbon and Carregado, an itinerary ofless than one hour. was inseparable from the region ofwine production and picturesque cultivated hills There are no known photographs ofthese inaugurations. Later, however, merging in riverbanks.'n His inreresr was in the conditions of the soil and the geo- the association between photography and the construcrion of the railway lines logical characteristics ofthe landscape, nor in the workers themselves, and the work takes full force with photographers being offìcially commissioned by the author- conditions inside the industrial spaces or in the agricultural land. ities in charge to take images of the process. This was in fact a global characreris- In 1865, within the reflections on rhe aftermath of the exhibition, rhe men in tic. There are innumerable cases of photographic projects of railway construction, charge of the custom House heard those manufacturers who wanted to manifest from France to India, Mozambique, or Portugal. Within colonial spaces, it was a their concerns. The owner ofa silk factory in cedofeita, stated how it worked. Sixteen powerful proof of the improvements brought by imperial European narions. Le- men, thirteen women, and five "underage".'5 The first earned between zoo and 4oo gitimacywas needed to reinforce the mapping and appropriation of space. Within "réis diârios",the women between 8o and zoo, and the youngsters between 8o and rzo. national spaces it was also the best propaganda for states eager to present themselves

56 FILIPA LOWNDES VICTNTI THE ()UTSÏ FOR PRÍ)GRESS BITWEEN PORTI) AND IUA()PE 57 as modern and developed, focused on the interests ofthe nation and their citizens or subjects. Railway stations themselves were architectural spaces with many links to exhibition pavilions made of glass and iron. They were both mid-r9'h century buildings characterised by openness, movement, light and vision. They should al- low the passage oflarge quantities ofpeople - departing and arriving from trains or moving throughout the spaces of display. Walter Benjamin was unique in his way of describing the symbolic characteristics of t9'h century culture.3T He argued that railway stations should be placed side by side with other topoi of t9'h century modernity built in iron: from arcades or pøssøges - the word that titled one of his philosophical and historical diagnostics of contemporaneity - covered markets and exhibition pavilions, all urban spaces marked by passage and transition. In stations and in exhibitions, people were both observers and observed. Some- times, there were even elevated observation points from where to grasp and admire Fig. l6 Cannon Street Trâin Station and Railway Bridge across the river Thames. Slereoscopic pholograph. Undared. this new kind of modern urban living. When travelling through Europe, the young prince D. Pedro V describes going for a walk after dinner, and choosing to go and see improvements that could be witnessed abroad, the aim of a few to implement anilway station, a "spectacle that I greatþ enjo¡ because I like life and activity and I them at home and, finally, the diffìculties in doing so: hate inertia and indifference. Unfortunately not everyone thinks like that."" As often, any subiect was good to direct his covert criticism to the Portuguese elite, from whom Pløced øt one of the lowest posítrons of the cívíIisøtton scøIe ønd of the intellectuøI he wanted to distinguish himself. When in London, he considered the Great Western development of peoples, we devour with our eyes øII thøt other peoples present øs Railway Station, in Paddington, 'the most beautiful establishment I have ever seen" greøt ønd beøunful ønd, øfter høving ødmíred, ødopted or rejected aII thøt, we heep and relates it directþ to the fìrst icon ofexhibition architecture: the station "is a palace on følling ínto our former støte, føIling immediøteþ øsleep.ao made ofcrystal and iron in a smaller-scale than that of Sydenharrl'." D. Pedro Vs European tours were determined by the nilway lines that Inr876,the Porto photographer ofGerman origin, Emílio Biel (rs¡a-rgrS), were mapping the territory and established what were its main itineraries and publishes Cøminhos de Ferro do Norte llustrødo and O Douro Ilustrødo.o'A steady stops. Crossing the Portuguese national frontier could not yet be achieved presence at universal exhibitions, this photographic work won him medals at by train. The sea and the boats, the means and ways of departing that were so the r8z8 exhibition in Philadelphia and theTSZI one in Rio de Janeiro. This pho- often repeated as intrinsic to Portuguese history, were, in the l9'h century, still the tographic suivey of the Portuguese railway lines had a wider impact through his only way of going abroad. The space of travelling - from his departure until his collaboration with the popular illustrated newspaper, the occidente, from 1878 to between his 1899. A businessman he created an electric lighting firm that worked on return to Portugal - was a space of comparison and confrontation himself own country and the different nations he was visiting. The experience should be the illumination of factories and railways stations. His double work with images a way of appropriating what they had and we had not. Traveling to see and learn - as a photographer and as printer - meant he had a significant impact on the but also to bring back home that knowledge and make use of it. A utilitarian aim creation of a visual national canon while contributing to the democratization of was always present - in travels as in exhibitions - even if the intentions were photography to wider publics. easier than the practice. With his characteristic irony and disenchantment D. ln 1875, a leaflet was published to commemorate the opening of the railway Pedro digresses, again, on this tension between a national consciousness ofthe line berween Porto and .o'The railway netr,vork was extending its tentacles,

(IUEST 58 FILIPA L(]WNDTS VICENTE THE T(]R PR(IGRESS BETWEEN P()RTOAND EUR()PE 59 and its title Congrøtuløho¡¿s well exemplifìed the ubilation that they meant. Contemporary inventions, their histories cross each other in multiple ways. - - f railways. Symbols of progress and industrialization. Synonymous of control and explora- As Walter Beniamin has demonstrated so magnificently through his fragmented tion. Iron versus earth. Human manufacture versus nature. analysis ofthe r9'h century they can be tools to better understand an historical rrprogress", period where the words " civilization", "industry'' and "moderniqy'' were As tuøs víøções bem dingidøs, rhe most repeated mantras. In the ciry of Porto, around the time of the first inter- Redobrøm o teu bnlho, o teu vøIor! national exhibition and the building of its Crystal Palace, we can find a laboratory As pontes sobre os nos construídas, to think of the values and ideas that dominated the second half of the t9'h century São d'ørte monumentos de primor! in so many parts of the world. Portugal, as it was often repeated within the publi- placed at the O sulligøndo øo norte ø férreø estrødø, carions related to exhibitions, as well as to railways or industry, was Embreve às møis provínciøs desnnødø, lowest end of a progressive conception of history dominated by some European Vøi n'umø só tornøndo øs povoøções; countries. Raw, agricultural or handmade products, at one end. Industry manu- Telégrøfos eléctricos nos øres factures and machiner¡ at the other end.

Vão o reíno cruzøndo, e pelos møres, However, the mantras were there. So were the tools that would contribute

Líg ør- n os com I ongín qua s regiõeslo' to achieve them. Railways to enable transgression of the human limits of time and space, making objects and people move faster than ever before; exhibitions The poem goes on to make an eulogy ofthe monarchy as against those "peo- to display everything that humanityhad been able to produce, from different ples" that chose to live in a Republic, a "cruel sad anarchy''. By loving "our king", spaces and times and within a classification grid that changed along the way; Portuguese people were the happiest people on earth. Within a national genealo- photography to frame that moment, the space and time that was beyond the lens gI, the author writes how the Lusitans went from a nation of winning wars and and that became printed in glass and paper. Photography also as a transgression conquests to having a "distinct place" within contemporary "progressist tasks". of time and space, enabling the observer to go back to that moment and locale By 1878 there were abeady dífferent plans to expand the railway lines from that was akeady placed in the past. The past made always present. Porto to other northern regions. For example, the directors of the Compønhiø do Vision was dominant with all these objects: looking through atrain window Cømínho de Ferro do Porto à Póvoø e Famølicã0, congratulate the "publii decision and seeing a panorama of the world with such speed demanded the eye and the mind makers", the "technical corporations" and "public opinion in general" for having to adjust to the new paces of modernity; looking at thousands of all kinds of objects received their plans so positively.'o Their idea was to develop the railway lines displayed inside the space of exhibitions demanded the eye and the mind to encom- from Vila Nova de Famalicão to Vila Pouca de Agaiar, and from there, further pass the results of human production; looking at photographs - on walls and post- North, into Chaves, and further south, into Régua. The hasty approval from the cards, and in albums, books and newspapers - constantly demanded the eye and the ]untø de obrøs Públicø.s encouraged a project that was described by their mentors mind to transgress the time and space of the observer and lead she or he into other as "delivering a service to our nation", through the works that would contribute spatial and temporal moments and contexts. Thinking of the intersection between to the "development of the province's richness, as noble for the character of its photograph¡ exhibitions and railways with the city of Porto at a particular time, inhabitants, as for the exceptional richness ofits soil". contributes to better understandwhy and how a crystal palace was built in r86s.

Departing from the case of Porto in the second half of the t9'h century ' Filipa Inmdes Vicente,Vngere e Exposições. D. PedrcV na Sebastian Conrad, '"'Nothing is the way it should bd': global and its relationship with the values of "progress" and "modernitt/' thatwere being Eurcpa dn séalo XIX (hsboa Gótic4 zoo¡); Mægarida Magalhães nansfomations of the time regime in the nineteenth cen- determined by the pace of"the most civilized nations", we have tried to explore the Ramalhq Comboios com Histórias (Lisboa: Assírio e Alvim; tr:ql, Modem Intellectual Hísøry, zov, pp. rza. Instituto Nacional do Transpone Ferroviáriq 2,ooo), p. zz. entangled histories ofthree Lgth century "objects": photograph¡ exhibitions and

BETWEEN PORT() ANt) 6I 60 FILIPA L()WNDES VICENTE THT OUEST FOR PROGRESS EUROPE 't

16 César Machado, Recordações de Paris e Londres 36 D.Pedtoy, Escritos de El-Rei D. PedroV,s vols. (Coimbra: " Ruben Ardresen Leitão, ed. Díârío de Viagem a Frønça '5 Its authors were Manuel José de Sousa Ferreira and a Júlio del-Rei Dom Pedro v (18s9 (Paris: Fundação Calouste pannership between Miguel Novaes and Henrique Nunes: (Londres: José Maria Correa Seabra, t863), p.145. Imprensa da Universidaðc,tgz3-tg3o), vol. I, p. 1r9. p. M. Teresa Siza, ed., o Porto e os sew Eotógrøþs,textby Maria Gulbenkian; Centro Cultural Português, tszo), zts. 37 '7 Esclarecímentos acerca dø Imprensa NacionøI de Lísboa Walrer Benjamin, "Paris-Capital of the Nineteenth do Carmo Serén (Porto: Porto Editor4 2oo1),pp.4L,42. que Century'', Charles Baudelaíre. A Lync Poet in the Erø 3 Joaquim Henriques Fradesso da Silveira, "O Estado e e dos Produtos apresentø na Exposíção Internacional in of Portuguesa de 1865 (Lisboa: Imprensa Nacional, 1865). Hígh CøpítøIísm (Londres: Verso. 1997), pp. t55-176,159. as Exposições", in Estudos (Lisboa: lmprensa Nacional, '6 António Sena, Hístóna da Eotografie em Portugal. 1839- rBZz), pp.r-34,p.3. .3 Esclarecimentos ácerca da Imprensø Nøcíonal de Lísboa 33 D. Pedro V, Escnúo s de El-Reí D. PedroV,s vols. (Coimbra:

4 e dos Productos que apresenta na Erposição Internøcional Imprensa da Universidade,tgz3-tg3o), vol. I, p. 3o5. Joaquim Henriques Fradesso da Silveira, "O Estado e '? Maria do Carmo Serén, A Fotografø em PortugøI,vol. as Exposições", in Estudos (Lisboa: Imprensa Nacional, 1z Arte Portuguesa. Da Pré-História ao Século XX, Porturuesø de 1865 (Lisboa: Imprensa Nacional, 1865), p. 5. 3, D. Pedro V, .gsøitos de EI-Reí D. Pedro V,5 vols. (Coimbra: 1872),pp.13,2o. coord. Dalila Rodrigues (Lisboa: Fubu Editores; IMC; z, Reløtórios da Exposição Industríal Poftuguesa em 1891 no Imprensa da Universidade,tgzt-rglo), vol. I, pp. 9¡roo. Igespat, zoog), pp. 23,24. (Lisboat 5 Henriques Fradesso da Silveira, "o Estado e PøIácio de Crystal Portuense Imprensa, 1895). loaquim 4o Carta ao Príncipe Alberto, rz de Fevereiro de 1856, as Exposições", in Estudos (Lisboa: Imprensa Nacional, ,3 ln 1994, on the eve of the International Exhibition io Conde de Samodães, "Breve Esboço Histórico do in M. F. Mónica,'D. Pedro V. O rei virgem que morreu 1872), pp.27-29. held in Lisbon in 1998, an exhibition was organised on Palácio de Crystal Portuense", Porro 1890, in Porto 1865: ceð,o", O Independente, no St9 G7 de Abril de 1998), p. 28. the 1865 Porto exhibition: Porto 7865: Uma Exposíçã0, et (Porto: 6 Ernest Lacan, Esqaisses Photoïraphíques a propos de Uma Ëxposição, et al., Exhibition Catalogue Mu- al., Ëxhibition Catalogue (Porto: Museu Nacional Soares 1'António Pedro Vicente, "Os primeiros 75 anos da I'Expostron lJnwmelle et de Iø gum diOríent (Paris: Græsart seu Nacional Soares dos Reis, 1994), pp. s5-59. dos Reis, 1994). Fotografia em Portugal", in História de Portugal, dfu. Éditeu¡, r856); Facsimiled edition (Paris: Éditions n CetáIogo dø Exposíção Insular e CoIoníaI Portuguese em loão Medina, vol. XV (Lisboa: 1993), p.216; Paulo Artur Jean-Michel Place, 1986), p. to6. 'ç Collection of"Herdeiros de Alfredo Aires de Gouveia ßg4 no Pølácio de CrystalPortuense (Lisboa: Imprensa Na- Ribeiro Baptista, A Cøsa BieI e as suas edições fotográficas Allen", M. Teresa Siza, ed., O Porto e os seus Fotógrøfos,text Forrester, Algumas palatrøs sobre ø Erpo- cional, r895). no Portugal de Oitocentos (Lisboa: Edições Colibri; IHA, ' Joseph James by Maria do Carmo Serén (Porto: Porto Editora, zoor), síção de Pøns pelo...oferecídas øos seus awigos (Portot'lypo- zoro); Maria do Carmo Serén, Fotografia no Douro: ar- p. 41. I do not know ofany other photographs ofthe rae5 t'CatáIogo dos produtos døs Provínciøs rJltuamarinas entia- grafia Comercial, 1856). queologia e modemídøde (Porto: CPF; Ministério da Cul- Exhibition, nor of the location of the album that was dos à exposiçãointernøcíonaldøcídqde do Porfo (Lisboar Typ. twa, 2o06), pp.85-123. 3 presented However, is very probable 1865). Joseph lames Forrester, Reløhon des Objects expediés à at its opening. it Franco-Portuguesa, 4' l'exposihon uníverselle de Pøns (Porto: ed. de autor, 1855). that there are more examples. loaquim Pinto de Sousa Macario, Felicitøção aos seus rr M. Teresa Siza, ed., O Porto e os seus Fotógrøfos, text Biblioteca da Ajuda, Lisboa. compøtríotas e à pátria, no dia da inøuguração do cømínho- ,o Tony Bennett, The Birth of the Museum. Hístory,Theory, by Maria do Carmo Serén (Porto: Porto Editora, zoor), -de-fewo do Porto a BraBø, a zo de Maio de 1875 (Porto: , paløvrøs a Expo- Polifics (Londres: Routledge, 1995); 'The Exhibitionary p. 27. Eor the history of Porto's Industry at the time of ,oseph James For rester, Algumøs sobre Typographia da RevistE 1875). sição de Paris pelo...oferecidøs øos seus ømígos (Portot Typo- Complex" , Nw Formatioils, n" 4,1988, pp. 73-1o2. rhe exhibition see: José Manuel I¡pes Cordeiro,'A lndús- 43 grafi a Comercial, r856), p. 34. tria Portuense na época da Exposição Internacional Joaquim Pinto de Sousa Macario, Felicítøção aos seus Actas das Sessões dø Comissão de Inquéríto. Constituídø "' de 1865", in Porto 1865: Umø Exposiçã0, et al., Exhibition compøtríotts e à pátria, no dia da inauguração do cøminho- ed., O Porto e os seus Fotógrafos, text por decisão dø Comissão do conselho geral døs øIfândegøs en- 'o M. Teresa Siza, Catalogue (Porto: Museu Nacional Soares dos Reis, -de-feno do Porto a Brafø, a zo de Maio de 1875 (Porto: by Maria do Ca¡mo Serén (Porto: Porto Editora, 2oot), canegada de estudar ø erposíção intemacionøl øbertø na cídø- 199Ð, PP. 6r-69. Typographia da Revisra, 18zS), pp. Z 8. de pp. 76, tz; WiIIíam Fredench Elower: ø píoneer of Portuguese de do Porto em t8 de Setembro de 1865. Inquénto IndustríøI (Lisboa: 3a 'As q Económíca e Estøtística apresentødø ao govemo Photogrøphy (Lisboa: Electa; Lisboa 94, 1994). r865 Imprensa Nacional, 1865). Maria do Carmo Serén, primeiras imagens foto- Memoría gráficas: o Porto de Frederick Flower e o Douro de lames de suø majestade pela direcção do camínho-de-femo do Porto à ," M. Teresa 9iza, ed.., O Porto e os seus Fotógrafos,textby M. Teresa Siza, ed., O Porto e os seus Eotógrafos, text by " Forrestel', Fotografiø no Douro: ørqueología e modemídade Povoa e Famalicão acompanhødo de um ønteprojecto delinhas Ma¡ia do Carmo Serén (Porro: Porto E ditora, zoot), p.t9. Maria do Carmo Serén (Porto: Porto Editora, 2oo1), p.35. (Porro: CPF; Ministério da Cultura, zc,c6), pp. zs-83. férueøs em Tr,ás-os-Montes, Porto, 4 de Dezembro de 1828, a signed by Thomaz da Silva and Jose Antonio M. Teresa Siza, e¿,-, O Porto e os seus Fotógrøfos, text by loão Christino da Silva, SegundaVisíta à Exposíção In- loaquim '" 3t Actas das Sessões da Comíssão de Inquéito. Conshtuídø Pereir¿ Duarte, unpaginated. Serén (Porto: E zoot), p. zt. temøcíonøl do Porto em 1866 (LisboatTypographia Univer- Maria do Carmo Porto ditora, por decísão da Comissão do conselho gerøI døs alfândegøs en- sal, 1866), p. 5. canegada de estudør a exposíção íntemacíonøI aberta na cída- 'r Emília Tavares, "O Devir das Imagens", eds. Emília . de do Porto eu tB de Setembro de 1865. Inquérito IndustnøI de Tavares e Margarida Medeiros, Tesouros dø Fotografa For the historyofiron architecture in the city ofPorto 1865 (Lisboa: Imprensa Nacional, r865), pp. XLII, XLIII. Portufuesa do Século XIX. Exhibition Catalogue (Lisboa: see: António Cardoso, 'A arquitectura do ferro no Porto Museu do Chiado, zo19,pp. L1-37. oitocentista", Porto 1865: IJmø Exposiçã0, et al., Exhibí- tion Catalogue (Porto: Museu Nacional Soares dos Reis, It was titled Rais ta Pittoresca e Descríptítø de Portugal com '4 1994. pp.39-51. Vistas Photogrøphicøs and it published z photographs per "Poetas (Cartas year. SeeAntónio PedroVicente, "Os primeiros 75 anos da '5 Camilo Castelo Branco, e Prosadores Fotografia em Portugal", in Hßtóia de Portugal, dir-Joio a Ernesto Biester)", Retistø Cohtemporønea de Portugal e Medina, vol. XV lLisboat 1993), pp. 182-231, p. 2o5. BruziL vol. Iv (\86 Ð, p. 415.

THE OUEST F()R PROGRESS BEIWTTN PORÏ() AND EUR()PE 63 62 FILIPÀ LOWNDES VICENTE NOTAS BIOGRAFICAS BTOGRAPHICAL NOTES

BÉuÉrrcrr Lrclrnc

Arquiteta dplg (diplomé par le gouvernement) e historiadora pela EHESS (École des Hautes Études en Sciences Sociales), investiga o desenho urbano europeu nos séculos XVIII, XIX e XX e a sua influência na América Latina, Coordena uma equipa internacional de arquitetos, historiadores e investigadores no âmbito destes remas. É autora de diversas publicações e artigos científicos neste campo de estudos. Foi consultora científica e coordenadora de diversas exposições e seminários, nomeadamente "Jean Claude Nicolas Forestier (1861-193o). Du jardin au paysage urbain" (Paris, 199o), e das atas resultantes deste seminário , emtgg4,Temtido presença assídua em diversas conferências dedicadas aos temas do desenho urbano, jardins e renovação urbana.

Architect dplg (diplomé par le gouvernement) and historian from the EHESS (École des Hautes Études en Sciences Sociales), she researches European urban design in the eighteenth, nineteenth and nventieth cenruries and its influence in Latin America. She coordinates an international staffof architects, historians and researchers on these themes. She has written many articles and scientific papers about this field ofstudies. She been scientific consultant and coordinator ofseveral exhibitions and seminars, namely "Jean Claude Nicolas Forestier (r861-193o). Du jardin au paysage urbain" (Paris, 1990), and the resulting proceedings (1994). She has also participated in several conlerences about urban design, gardens and urban renewal.

BERNADETTE BLANCHON

Arquitet4 professora associada na École Nationale Supérieure de Paysage de Versailles e investigadora no LAREP (Laboratoire de Recherche de l'École de Paysage.). Colaborou com o Bureau des Paysages, dirigido pelo arquiteto paisagista Alexandre Chemetoff. O seu trabalho enquanto professora e investigadora desenvolve-se no âmbito das paisagens urbanas na era do pós-guerra. Contribuiu paravárias publicações, incluindo Women, Modemity ønd Løndscøpe ørchítecnre (zotÐ, L'AIJA une ørchítecture de I'engagement (2019,

Les espøces publics modemes (tggò , Løndscøpe Reseørch (zon) , Helvetícø Topíøria (2o16) e STRATES N'ß (2ooÐ . Lecionou em diversas universidades e confe¡ências internacionais e é editora fundadora da revista

académica JoLA, J oumøl of Løndscøpe Architecture.

Certified architecr, associate professor at the École Nationale Supérieure de Paysage in Versailles, and a research fellow ar LAREP (Laboratoire de Recherche de l'École de Paysage). She has collaborated with

255 the Bureau des Paysages, led by landscape architect Alexandre Chemetoff Her teaching and research XX: a produção de conhecimento em contextos coloniais; a história da Índia Colonial; relações entre work focuses on landscapes in the urban environment of the post-war era. She has contributed to género e colonialismo; o lugar das mulheres enquanto autoras e criadoras; a história de coleções, various.publications, including Women, Modemity ønd lnndscøpe ørchitecture (zor4, L'AUA une architecture museus, exposições, viagens, fotografi a.

de I'engøgement (zorÐ, IÊs espøces publics modemes (tgsz), La.ndscøpe Reseørch (zott), Helveticø Topiøríø (zot6) Researcher at the Instituto de Ciências Sociais da Universidade de Lisboa, she holds a Ph.D. from and STRATES N"r¡ (zooz). She has lectured at international conferences and various universities and is a rhe Universiry ofLondon. Her thesis led to the publication ofthe book Viagens e Exposições: D. Pedro founding editor ofthe academic lournalJol,A., Joumøl ofLandscøpe Architecütre. V nø Europa do Século xlx (zoot. She is the author of many articles and books, including: Outros Orientalismos: A indiø entre Elorençø e Bombøim, 1860 79oo, published in Portugal (zoo9) in India and

Italy (zo1z), Arte Setn História: Mulheres e Culturø Artíshcø, Séculos XVI xx (zotz) and, in zot4, o Império dø Visão: fotografia no contexto coloniøl português (1860-1960) with the participation of thirry other DeNrlo Unovrðrr-SsLn authors, as the result ofa research project she coordinated. Her research topics focus on the nineteenth and fwentieth centuries: the production gender and Professor associado na School ofArchitecture da University ofTexas at Austin, doutorado em História, of knowledge in colonial contexts; the history of Colonial India; relations between collections, museums, Teoria e Crítica da Arquitetura pelo Massachusetts Institute ofTechnology. Tem vasta obra publicada colonialism; the place of women as authors and creators; the history of sobre a década de r93o na União Soviética e em França, especialmente sobre Charlotte Perriand, Le exhibitions, travel and photo graphy. Corbusier e lacques Gréber. O seu mais recente ensaio neste tema Reinventing Pøris: The Competitions for the tgsz Paris InternøtionøI Etcpositíon, foipublicado no .lou møl ofArchitectural Histonøns (zor5). O livro NARI(OIMIN; Moisej Ginzburg and Ignøtij MíIinis (Ernst Wasmuth Verlag, Berlin) é seu trabalho mais recente. É o correspondente norte-americano e crítico de arquitetura para o lI Giornale dell'Archítettura, Joncr RrcARDo PrNro de Turim, Irália. Licenciado, Mesrre e Doutor em Geografia pela Faculdade de Letras da Universidade do Porto. É Universidade de Trás-os- Associate Professor at the University ofTexas atAustin School ofArchitecture, he holds a Ph.D. from professor no Instituro Superior de Ciências Empresariais e do Turismo, the Massachusetts Institute ofTechnology in the History, Theory and Criticism ofArchitecture. -Monres e AIto Douro e no departamento de formação contínua da FLUP. Desenvolve investigação He has published widely on the 193os in the Soviet Union and France, notably on Charlotte científica em temas como a morfologia e história urbana e a geografia social, no Centro de Estudos de Centro de Investigação Interdisciplinar e de Intervenção Perriand, Le Corbusier and Jacques Gréber. His most recent essay on the topic, Reinventing Paris: Geografia e Ordenamento do Território, e no onde é o investigador responsável pelo projeto CHIP. É autor e coordenador de várias The Competitions for the D3r Pørís Internøtional Expositíon, was published in the Journøl ofArchitectural Comunitária de Memóriøs Historíans (zor5). His latest work is an edited book NARKOFMIN: Moisej Ginzburg and lgnøtíj Milinis publicações nomeadamente de, O Porto Orientøl no final do século XIX e Bonfim - Tewitório (Ernst Wasmuth Verlag, Berlin). He is US correspondent and architecture critic for lI Giomøle e Destinos, e outros dois como coordenador, Turismo, pøtnmónio e inovøção e O 285 da ruø de Cedofeitø. É deII' Architettura, Torino, Italy. subdiretor da revista científica Percursos e ldeiøs.

Holding a BA, MA and Ph.D. in Geography from the Faculdade de Letras da Universidade do Porto, he is a professor ar rhe Instituto Superior de Ciências Empresariais e do Turismo, at the Universidade de Trás-os-Montes e Alto Douro and in the continuing education department of Frlrpe Lowt.lors VrcsNr¡ FLUP. He has developed his scientific research on subjects such as morphology and urban history and social geograph¡ both in the Cenrro de Estudos de Geografia e Ordenamento do Território, Investigadora no Instituto de Ciências Sociais da Universidade de Lisbo4 doutorou-sê na Universidade and in the Centro de Investigação Interdisciplinar e de Intervenção Comunitária, where is the de Londres, em 2ooo, com uma tese que deu origem ao livro Viøgens e Exposições: D. Pedro V nø Europø principal investigator ofproject CHIP. He is author and coordinator ofseveral publications, manely do Século XIX (zooÐ. É autora de vários artigos e livros, nomeadamente: Outros Orientølismos: A indiø O Porto Oriental no'finøI do século XIX and Bonfirn - Território de Memóríøs e Destinos, and other two as entre Florença e Bombaím, t86orgoo, publicado em Portugal (zoo9) na Índia e em ltâlia (zolz) e Arte Sem coordinator, Turísmo, pøtrimónio e ínovøção and O 285 dø ruø de Cedofeitø. He is the deputy director of Históriø: Mulheres e Culturø Artístícø, Séculos XVIXX (zotz). Em zor4 editou um livro com a participação the scientific jotrnal Percursos e Ideias. de trinta autore s O Império dø Visão: fotografia no contexto coloniøl português (1860-1960), resultado de um projeto de investigação que coordenou. Os seus temas de investigação centram-se nos séculos XIX e

257 25ø Conselho de Administração I Diretores / Directors CONFERÊNCN / CONFERENCE PUBLTCAçÄ0 / PUBLTCATT0N Board of Directors* Diretor do Museu / EXP0STçöES TNTERNACT0NAtS Concepção / Concept Ana Pinho Director of the Museum Entre o jardim e a paisagem urbana loão Almeida, Teresa Portela Marques Presidente / President foão Ribas D0 pALÁCr0 DE CRTSTAL D0 p0RT0 (rS65) Manuel Cavaleiro Brandão À ueosrçÄo DE PARrs (re37) Concepção gráfica I Graphic design Vice-Presidente / Vice President GSA Design Manuel Ferreira da Silva Diretora Adminisfrativo-Financeira / INTERNATI()NAL EXP(]SITI()NS Vice-Presidente / Vice President Financial [)irector Between garden and townscape Coordenação ediforial / Managing edit0rs Isabel Pires de Lima Sofia Castro p0RT0 FR0M THE CRYSTAL PALACE (1865) João Almeida, Teresa Portela Marques Vice-Presidente / Vice President T0 THE PAR|S EXHTBTTT0N (1937) Vera Pires Coelho Tradução / Translation Carlos Moreira da Silva Diretor Comercial, Fundação de Serralves, Porto Martin Dale, Rui Cascais Parada António Pires de Lima de Desenvolvimento e C0municação / ot EEV FEB zot6 - oz EEV EEB zot6 fosé Pacheco Pereira Commercial, Development Edição / Copy-editing and Communication Director Comissária Curator Catherine Petit, Álmeid4 Paul Buck, oMembros / João por ordem de entrada / Miguel Rangel Teresa Portela Marques Teresa Portela Marques Members listed according to dares ofadmission

Coordenação / Coordination Pré-impressã0, impressão e acabamento / Comissão Executiva / Diretor de Recursos e Projefos Especiais / João Almeida Pre-press, printing and binding Executive Committee Resources and Special Projects Director Empresa Diário do Porto Ana Pinho Rui Costa Conferencistas e Moderadores / Presidente / President Speakers and Moderators ISBN Manuel Ferreir¿ da Silva Bénédicte Leclerc, Bernadette Blanchon, 978-97z-T3g-3sz -z (Fundação de Serralves) Isabel Pires de Lima Danilo Udoviðki-Selb, Filipa Lowndes Vicente,

lorge Ricardo Pinto, Kate Colquhoun, Depósito legal / Legal deposit:

Marc Treib, Stéphanie de Courfois, Teresa 446917178 Conselho Fiscal i Portela Marques e/and Cristina Castel-Branco, Auditing Council Ioão Almeid¿ Nuno Grande, Teresa And¡esen Amílcar Pires Salgado

Presidente / President Mesa Redonda / Round Table Adalberto Neiva de Oliveira Filipe Araúio, Helena Madureira, forge Ricardo Ernst &YoungAudit Pinto, Nuno Grande, Paulo Araújo, &Associado SROC, S.A. Teresa Andresen, Teresa Portela Marques