FIG. 8. Sala dos Arabes. Palace, Cintra. From a photograph by L. Oram, Cintra.FIG. 8.Sala dos Arabes.Palace, Cintra.From a photograph by L. Oram, Cintra.
FIG. 9. Dining-room, Old Palace. Cintra. From a photograph by L. Oram, Cintra.FIG. 9.Dining-room, Old Palace.Cintra.From a photograph by L. Oram, Cintra.
Much older are the tiles in the centralPateo, also green and white, but forming a very curious pattern.
Of later tiles the palace also has some good examples, such as the hunting scenes with which the walls of theSala dos Brazõeswere covered probably at the end of the seventeenth century, during the reign of Dom Pedroii.
The palace at Cintra may possess the finest collection of tiles, Moorish both in technique and in pattern, but it has few or none of the second class where the technique remains Moorish but the design is Western. To see such tiles in their greatest quantity and variety one must cross the Tagus and visit the Quinta de Bacalhôa not far from Setubal.
There a country house had been built in the last quarter of the fifteenth century by Dona Brites, the mother of Dom Manoel.[26]The house, with melon-roofed corner turrets, simple square windows and two loggias, has an almost classic appearance, and if built in its present shape in the time of Dona Brites, must be one of the earliest examples of the renaissance in the country. It has therefore been thought that Bacalhôa may be the mysterious palace built for Dom Joãoii. by Andrea da Sansovino, which is mentioned by Vasari, but of which all trace has been lost. However, it seems more likely that it owes its classic windows to the younger Affonso de Albuquerque, son of the great Indian Viceroy, who bought the property in 1528. The house occupies one corner of a square garden enclosure, while opposite it is a large square tank with a long pavilion at its southern side. A path runs along the southern wall of the garden leading from the house to the tank, and all the way along this wall are tiled seats and tubs for orange-trees. It is on these tubs and seats that the greatest variety of tiles are found.
It would be quite impossible to give any detailed description of these tiles, the patterns are so numerous and so varied. In some the pattern is quite classical, in others it still shows traces of Moorish influence, while in some again the design is entirely naturalistic. This is especially the case in a pattern used in the lake pavilion, where eight large green leaves are arranged pointing to one centre, and four smaller brown onesto another, and in a still more beautiful pattern used on an orange tub in the garden, where yellow and dark flowers, green and blue leaves are arranged in a circle round eight beautiful fruits shaped like golden pomegranates with blue seeds set among green leaves and stalks.
But these thirty or more patterns do not exhaust the interest of the Quinta. There are also some very fine tile pictures, especially one of 'Susanna and the Elders,' and a fragment of the 'Quarrel of the Lapithæ and Centaurs' in the pavilion overlooking the tank. 'Susanna and the Elders' is particularly good, and is interesting in that on a small temple in the background is the date 1565.[27]Rather later seem the five river gods in the garden loggia of the house, for their strapwork frames of blue and yellow can hardly be as early as 1565; besides, a fragment with similar details has on it the letters TOS, no doubt the end of the signature 'Francisco Mattos,' who also signed some beautiful tiles in the church of São Roque at Lisbon in 1584.
It is known that the entrance to the convent of the Madre de Deus at Lisbon was ornamented by Dom Manoel with some della Robbia reliefs, two of which are now in the Museum.
On the west side of the tank at Bacalhôa is a wall nearly a hundred feet long, and framed with tiles. In the centre the water flows into the tank from a dolphin above which is an empty niche. There are two other empty niches, one inscribedTempora labuntur more fluentis aquae, and the otherVivite victuri moneo mors omnibus instat. These niches stand between four medallions of della Robbia ware, some eighteen inches across. Two are heads of men and two of women, only one of each being glazed. The glazed woman's head is white, with yellow hair, a sky-blue veil, and a loose reddish garment all on a blue ground. All are beautifully modelled and are surrounded by glazed wreaths of fruit and leaves. These four must certainly have come from the della Robbia factory in Florence, for they, and especially the surrounding wreaths, are exactly like what may be seen so often in North Italy.
Much less good are six smaller medallions, four of which are much destroyed, on the wall leading north from the tank to a pavilion named theCasa da India, so called from thebeautiful Indian hangings with which its walls were covered by Albuquerque. In them the modelling is less good and the wreaths are more conventional.
Lastly, between the tank and the house are twelve others, one under each of the globes, which, flanked by obelisks, crown the wall. They are all of the same size, but in some the head and the blue backing are not in one place. The wreaths also are inferior even to those of the last six, though the actual heads are rather better. They all represent famous men of old, from Alexander the Great to Nero. Two are broken; that of Augustus is signed with what may perhaps be read Doñus Vilhelmus, 'Master William,' who unfortunately is otherwise unknown.
It seems impossible now to tell where these were made, but they were certainly inspired by the four genuine Florentine medallions on the tank wall, and if by a native artist are of great interest as showing how men so skilled in making beautiful tiles could also copy the work of a great Italian school with considerable success.
Of the third class of tiles, those where the patterns are merely painted and not raised, there are few examples at Bacalhôa—except when some restoration has been done—for this manner of tile-painting did not become common till the next century, but there are a few with very good patterns in the house itself, and close by, the walls of the church of São Simão are covered with excellent examples. These were put up by the heads of a brotherhood in 1648, and are almost exactly the same as those in the church of Alvito; even the small saintly figures over the arches occur in both. The pattern of Alvito is one of the finest, and is found again at Santarem in the church of the Marvilla, where the lower tiles are all of singular beauty and splendid colouring, blue and yellow on a white ground. Other beautiful tiled interiors are those of the Matriz at Caldas da Rainha, and at Caminha on the Minho. Without seeing these tiled churches it is impossible to realise how beautiful they really are, and how different are these tiles from all modern ones, whose hard smooth glaze and mechanical perfection make them cold and anything but pleasing. (Figs.10and11,frontispiece.)
Besides the picture-tiles at Bacalhôa there are some very good examples of similar work in the semicircular porch which surrounds the small round chapel of Sant' Amaro atAlcantara close to Lisbon. The chapel was built in 1549, and the tiles added about thirty years later. Here, as in the Dominican nunnery at Elvas, and in some exquisite framings and steps at Bacalhôa, the pattern and architectural details are spread all over the tiles, often making a rich framing to a bishop or saint. Some are not at all unlike Francisco Mattos' work in São Roque, which is also well worthy of notice.
Of the latest pictorial tiles, the finest are perhaps those in the church of São João Evangelista at Evora, which tell of the life of San Lorenzo Giustiniani, Venetian Patriarch, and which are signed and dated 'Antoninus ab Oliva fecit 1711.'[28]But these blue picture-tiles are almost the commonest of all, and were made and used up to the end of the century.[29]
Now although some of the patterns used are found also in Spain, as at Seville or at Valencia, and although tiles from Seville were used at Thomar by João de Castilho, still it is certain that many were of home manufacture.
As might be expected from the patterns and technique of the oldest tiles, the first mentioned tilers are Moors.[30]Later there were as many as thirteen tilemakers in Lisbon, and many were made in the twenty-eight ovens oflouça de Veneza, 'Venetian faience.' The tiles used by Dom Manoel at Cintra came from Belem, while as for the picture tiles the novices of the order of São Thiago at Palmella formed a school famous for such work.
Indeed it may be said that tilework is the most characteristic feature of Portuguese buildings, and that to it many a church, otherwise poor and even mean, owes whatever interest or beauty it possesses. Without tiles, rooms like theSala das Sereiasor theSala dos Arabeswould be plain whitewashed featureless apartments, with them they have a charm and a romance not easy to find anywhere but in the East.
THE EARLY BUILDINGS IN THE NORTH
Portugal, like all the other Christian kingdoms of the Peninsula, having begun in the north, first as a county or march land subject to the king of Galicia or of Leon, and later, since 1139, as an independent kingdom, it is but natural to find nearly all the oldest buildings in those parts of the country which, earliest freed from the Moslem dominion, formed the original county. The province of Entre Minho-e-Douro has always been held by the Portuguese to be the most beautiful part of their country, and it would be difficult to find anywhere valleys more beautiful than those of the Lima, the Cavado, or the Ave. Except the mountain range of the Marão which divides this province from the wilder and drier Tras-os-Montes, or the Gerez which separates the upper waters of the Cavado and of the Lima, and at the same time forms part of the northern frontier of Portugal, the hills are nowhere of great height. They are all well covered with woods, mostly of pine, and wherever a piece of tolerably level ground can be found they are cultivated with the care of a garden. All along the valleys, and even high up the hillsides among the huge granite boulders, there is a continuous succession of small villages. Many of these, lying far from railway or highroad, can only be reached by narrow and uneven paths, along which no carriage can pass except the heavy creaking carts drawn by the beautiful large long-horned oxen whose broad and splendidly carved yokes are so remarkable a feature of the country lying between the Vouga and the Cavado.[31]In many of these villages may still be seen churchesbuilt soon after the expulsion of the Moors, and long before the establishment of the Monarchy. Many of them originally belonged to some monastic body. Of these the larger part have been altered and spoiled during the seventeenth or eighteenth centuries, when, after the expulsion of the Spaniards, the country began again to grow rich from trade with the recovered colony of Brazil. Still enough remains to show that these old romanesque churches differed in no very striking way from the general romanesque introduced into Northern Spain from France, except that as a rule they were smaller and ruder, and were but seldom vaulted.
That these early churches should be rude is not surprising. They are built of hard grey granite. When they were built the land was still liable to incursions, and raids from the south, such as the famous foray of Almansor, who harried and burned the whole land not sparing even the shrine of Santiago far north in Galicia. Their builders were still little more than a race of hardy soldiers with no great skill in the working of stone. Only towards the end of the twelfth century, long after the border had been advanced beyond the Mondego and after Coimbra had become the capital of a new county, did the greater security as well as the very fine limestone of the lower Mondego valley make it possible for churches to be built at Coimbra which show a marked advance in construction as well as in elaboration of detail. Between the Mondego and the Tagus there are only four or five churches which can be called romanesque, and south of the Tagus only the cathedral of Evora, begun about 1186 and consecrated some eighteen years later, is romanesque, constructively at least, though all its arches have become pointed.
But to return north to Entre Minho-e-Douro, where the oldest and most numerous romanesque churches exist and where three types may be seen. Of these the simplest and probably the oldest is that of an aisleless nave with simple square chancel. In the second the nave has one or two aisles, and at the end of these aisles a semicircular apse, but with the chancel still square: while in the third and latest the plan has been further developed and enlarged, though even here the main chancel generally still remains square.
Villarinho.
There yet exist, not far from Oporto, a considerable number of examples of the first type, though several by their pointed doorways show that they actually belong, in part at least, to the period of the Transition. One of the best-preserved is the small church of Villarinho, not far from Vizella in the valley of the Ave. Originally the church of a small monastery, it has long been the parish church of a mountain hamlet, and till it was lately whitewashed inside had scarcely been touched since the day it was finished some time before the end of the twelfth century. It consists of a rather high and narrow nave, a square-ended chancel, and to the west a lower narthex nearly as large as the chancel. The church is lit by very small windows which are indeed mere slits, and by a small round opening in the gable above the narthex.[32]The narthex is entered by a perfectly plain round-headed door with strong impost and drip-mould, while above the corbels which once carried the roof of a lean-to porch, a small circle enclosing a rude unglazed quatrefoil serves as the only window. The door leading from the narthex to the nave is much more elaborate; of four orders of mouldings, the two inner are plain, the two outer have a big roll at the angle, and all are slightly pointed. Except the outermost, which springs from square jambs, they all stand on the good romanesque capitals of six shafts, four round and two octagonal. (Fig. 12.)
São Miguel, Guimarães.
Exactly similar in plan but without a narthex is the church of São Miguel at Guimarães, famous as being the church in which Affonso Henriques, the first king of Portugal, was baptized in 1111. It claims to have been thePrimazor chief church of the whole archdiocese of Braga. It is, like Villarinho, a small and very plain church built of great blocks of granite, with a nave and square chancel lit by narrow window slits. On the north side there are a plain square-headed doorway and two bold round arches let into the outer wall over the graves of some great men of these distant times. The drip-mould of one of these arches is carved with a shallow zigzag ornament which is repeated on the western door, a door whose slightly pointed arch may mean a rather later date than the rest of the church. The wooden roof, as at Villarinho, has a very gentle slope with eaves of considerable projectionresting on very large plain corbels, while other corbels lower down the wall seem to show that at one time a veranda or cloister ran round three sides of the building. The whole is even ruder and simpler than Villarinho, but has a certain amount of dignity due to the great size of the stones of which it is built and to the severe plainness of the walling.
Cedo Feita, Oporto.
Only one other church of this type need be described, and that because it is the only one which is vaulted throughout. This is the small church of São Martim de Cedo Feita or 'Early made' at Oporto itself. It is so called because it claims, wrongly indeed, to be the very church which Theodomir, king of the Suevi, who then occupied the north-west of the Peninsula, hurriedly built in 559A.D.This he did in order that, having been converted from the Arian beliefs he shared with all the Germanic invaders of the Empire, he might there be baptized into the Catholic faith, and also that he might provide a suitable resting-place for some relic of St. Martin of Tours which had been sent to him as a mark of Orthodox approval. This story[33]is set forth in a long inscription on the tympanum of the west door stating that it was put there in 1767, a copy taken in 1557 from an old stone having then been found in the archives of the church. As a matter of fact no part of the church can be older than the twelfth century, and it has been much altered, probably at the date when the inscription was cut. It is a small building, a barrel-vaulted nave and chancel, with a door on the north side and a larger one to the west now covered by a large porch. The six capitals of this door are very like those at Villarinho, but the moulded arches are round and not as there pointed.
Other churches of this type are Gandara and Boelhe near Penafiel, and Eja not far off—a building of rather later date with a fine pointed chancel arch elaborately carved with foliage—São Thiago d'Antas, near Familicão, a slightly larger church with good capitals to the chancel arch, a good south door and another later west door with traceried round window above; and São Torquato, near Guimarães, rather larger, having once had transepts of which one survives, with square chancel and square chapels to the east; one of the simplest of all having no ornament beyond the corbel table and the small slitlike windows.
FIG. 12.Church at Villarinho.FIG. 12.Church at Villarinho.
FIG. 13.Villar de Frades.W. Door.FIG. 13.Villar de Frades.W. Door.
South of the Douro, but still built of granite, are a group of three or four small churches at Trancoso. Another close to Guarda has a much richer corbel table with a large ball ornament on the cornice and a round window filled with curiously built-up tracery above the plain, round-arched west door, while further south on the castle hill at Leiria are the ruins of the small church of São Pedro built of fine limestone with a good west door.
Aguas Santas.
Of the second and rather larger type there are fewer examples still remaining, and of these perhaps the best is the church of Aguas Santas some seven miles north-east of Oporto. Originally the church consisted of a nave with rectangular chancel and a north aisle with an eastern apse roofed with a semi-dome. Later a tower with battlemented top and low square spire was built at the west end of the aisle, and some thirty years ago another aisle was added on the south side. As in most of the smaller churches the chancel is lower than the nave, leaving room above its roof for a large round window, now filled up except for a small traceried circle in the centre. The most highly decorated part is the chancel, which like all the rest of the church has a good corbel table, and about two-thirds of the way up a string course richly covered with billet moulding. Interrupting this on the south side are two round-headed windows, still small but much larger than the slits found in the older churches. In each case, in a round-headed opening there stand two small shafts with bases and elaborately carved capitals but without any abaci, supporting a large roll moulding, and these are all repeated inside at the inner face of a deep splay. In one of these windows not only are the capitals covered with intertwined ribbon-work, but each shaft is covered with interknotted circles enclosing flowers, and there is a band of interlacing work round the head of the actual window opening. Inside the church has been more altered. Formerly the aisle was separated from the nave by two arches, but when the south aisle was built the central pier was taken out and the two arches thrown into one large and elliptical arch, but thecapitals of the chancel arch and the few others that remain are all well wrought and well designed. The west door is a good simple example of the first pointed period, with plain moulded arches and shafts which bear simple French-looking capitals. Other churches of the same class are those of São Christovão do Rio Mau not far from Villo do Conde, and São Pedro de Rates, a little further up the Ave at the birthplace of the first bishop of Braga and earliest martyr of Portugal. São Pedro is a little later, as the aisle arches are all pointed, and is a small basilica of nave and aisles with short transepts, chancel and eastern chapels.
Villar de Frades.
The two earliest examples of the third and most highly developed type, the church of Villar de Frades and the cathedral of Braga, have unfortunately both suffered so terribly, the one from destruction and the other from rebuilding, that not much has been left to show what they were originally like—barely enough to make it clear that they were much more elaborately decorated, and that their carved work was much better wrought than in any of the smaller churches already mentioned. A short distance to the south of the river Cavado and about half-way between Braga and Barcellos, in a well-watered and well-wooded region, there existed from very early Christian times a monastery called Villar, and later Villar de Frades. During the troubles and disorders which followed the Moslem invasion, this Benedictine monastery had fallen into complete decay and so remained till it was restored in 1070 by Godinho Viegas. Although again deserted some centuries later and refounded in 1425 as the mother house of a new order—the Loyos—the fifteenth-century church was so built as to leave at least a part of the front of the old ruined church standing between itself and the monastic building, as well as the ruins of an apse behind. Probably this old west front was the last part of Godinho's church to be built, but it is certainly more or less contemporary with some portions of the cathedral of Braga.
At some period, which the legend leaves quite uncertain, one of the monks of this monastery was one day in the choir at matins, when they came to that Psalm where it is said that 'a thousand years in the sight of God are but as yesterday when it is gone,' and the old monk wondered greatly and began to think what that could mean. When matins were over he remained praying as was his wont, and begged Our Lord togive him some understanding of that verse. Then there appeared to him a little bird which, singing most sweetly, flew this way and that, and so little by little drew him towards a wood which grew near the monastery, and there rested on a tree while the servant of God stood below to listen. After what seemed to the monk a short time it took flight, to the great sorrow of God's servant, who said, 'Bird of my Soul, where art thou gone so soon?' He waited, and when he saw that it did not return he went back to the monastery thinking it still that same morning on which he had come out after matins. When he arrived he found the door, through which he had come, built up and a new one opened in another place. The porter asked who he was and what he wanted, and he answered, 'I am the sacristan who a few hours ago went out, and now returning find all changed.' He gave too the names of the Abbot and of the Prior, and wondered much that the porter still would not let him in, and seemed not to remember these names. At last he was led to the Abbot, but they did not know one another, so that the good monk was all confused and amazed at so strange an event. Then the Abbot, enlightened of God, sent for the annals and histories of the order, found there the names the old man had given, so making it clear that more than three hundred years had passed since he had gone out. He told them all that had happened to him, was received as a brother; and after praising God for the great marvel which had befallen him, asked for the sacraments and soon passed from this life in great peace.[34]
Whether the ruined west front of the older church be that which existed when the bird flew out through the door or not, it is or has been of very considerable beauty. Built, like everything else in the north, of granite, all that is now left is a high wall of carefully wrought stone. Below is a fine round arched door of considerable size, now roughly blocked up. It has three square orders covered with carving and a plain inner one. First is a wide drip-mould carved on the outer side with a zigzag threefold ribbon, and on the inner with three rows of what looks like a rude attempt to copy the classic bead-moulding; then the first order, of thirteen voussoirs, each with thecurious figure of a strangely dressed man or with a distorted monster. This with the drip-mould springs from a billet-moulded abacus resting on broad square piers. Of the two inner carved orders, the outer is covered on both faces with innumerable animals and birds, and the other with a delicate pattern of interlacing bands. These two spring from strange square abaci resting on the carved capitals of round shafts, two on each side. A few feet above the door runs a billet-moulded string course, and two or three feet higher another and slighter course. On this stands a large window of two orders. Of these the outer covered with animals springs from shafts and capitals very like those of the doorway, and the inner has a billet-moulded edge and an almost Celtic ornament on the face. Now whether Villar be older than the smaller buildings in the neighbourhood or not, it is undoubtedly quite different not only in style but in execution. It is not only much larger and higher, but it is better built and the carving is finer and more carefully wrought. (Fig. 13.)
It is known that the great cathedral of Santiago in Galicia was begun in 1078, just about the time Villar must have been building, and Santiago is an almost exact copy in granite of what the great abbey church of S. Sernin at Toulouse was intended to be, so that it may be assumed that Bernardo who built the cathedral was, if not a native of Toulouse, at any rate very well acquainted with what was being done there. If, then, a native of Languedoc was called in to plan so important a church in Galicia, it is not unlikely that other foreigners were also employed in the county of Portugal—at that time still a part of Galicia; and in fact many churches in the south-west of what is now France have doorways and windows whose general design is very like that at Villar de Frades, if allowance be made for the difference of material, granite here, fine limestone there, and for a comparative want of skill in the workmen.[35]
Sé, Braga.
Probably these foreigners were not invited to Portugal for the sake of the church of a remote abbey like Villar, but to work at the metropolitan cathedral of Braga. The see of Braga is said to have been founded by São Pedro de Rates, a disciple of St. James himself, and in consequence of so distinguished an origin its archbishops claim the primacy not onlyof all Portugal, but even of all the Spains, a claim which is of course disputed by the patriarch of Lisbon, not to speak of the archbishops of Toledo and of Tarragona. However that may be, the cathedral of Braga is not now, and can never have been, quite worthy of such high pretensions. It is now a church with a nave and aisles of six bays, a transept with four square chapels to the east, a chancel projecting beyond the chapels, and at the west two towers with the main door between and a fine porch beyond.
Count Henry of Burgundy married Dona Theresa and received the earldom of Portugal from his father-in-law, Alfonsovi. of Castile and Leon, in 1095, and he and his wife rebuilt the cathedral—where they now lie buried—before the end of the century. By that time it may well have become usual, if the churches were important, to call in a foreigner to oversee its erection. Of the original building little now remains but the plan and two doorways, the chancel having been rebuilt and the porch added in the sixteenth, and the whole interior beplastered and bepainted in the worst possible style in the seventeenth, century. Of the two doors the western has been very like that at Villar. It has only two orders left, of which the outer, though under a deep arch, has a billet-moulded drip-mould, and its voussoirs each carved with a figure on the outer and delicate flutings on the under side, while the inner has on both faces animals and monsters which, better wrought than those at Villar, are even more like so many in the south-west of France. The other doorway, on the south side next the south-west tower, is far better preserved. It has three shafts on each side, all with good capitals and abaci, from which spring two carved and one plain arch. The outer has a rich drip-mould covered with a curious triple arrangement of circles, has flutings on the one face and a twisting ribbon on the other, while the next has leaf flutings on both faces, and both a roll-moulding on the angle. The inner order is quite plain, but the tympanum has in the centre a circle enclosing a cross with expanding arms, the spaces between the arms and the circle being pierced and the whole surrounded with intertwining ribbons.
Sé, Oporto.
Another foundation of Count Henry's was the cathedral of Oporto, which, judging from its plan, must have been very like that of Braga, but it has been so horribly transformed during the seventeenth and eighteenth centuries that nothing now remains of the original building but part of the walls;for the fine western rose window must have been inserted about the middle of the thirteenth century.
Paço de Souza.
Except the tragedy of Inez de Castro, there is no story in Portuguese history more popular or more often represented in the engravings which adorn a country inn dining-room than that of the surrender of Egas Moniz to Alfonsovii. of Castile and Leon, when his pupil Affonso Henriques, beginning to govern for himself, refused to fulfil the agreement[36]whereby Egas had induced Alfonso to raise the siege of the castle of Guimarães. And it is the fact that the church of São Salvador at Paço de Souza contains his tomb, which adds not a little to the interest of the best-preserved of the churches of the third type. Egas Moniz died in 1144, and at least the eastern part of the church may have existed before then. The chancel, where the tomb first stood, is rather long and has as usual a square east end while the two flanking chapels are apsidal. The rest of the church, which may be a little later, as all the larger arches are pointed, consists of a nave and aisles of three bays, a transept, and a later tower standing on the westernmost bay of the south aisle. The constructive scheme of the inside is interesting, though a modern boarded vault has done its best to hide what it formerly was. The piers are cross-shaped with a big semicircular shaft on each face, and a large roll-moulding on each angle which is continued up above the abacus to form an outer order for both the aisle and the main arches, for large arches are carried across the nave and aisles from north to south as if it had been intended to roof the church with an ordinary groined vault. However, it is clear that this was not really the case, and indeed it could hardly have been so as practically no vaults had yet been built in the country except a few small barrels. Indeed, though later the Portuguese became very skilful at vaulting, they were at no time fond of a nave with high groined vault upheld by flying buttresses, and low aisles, for there seems to have been never more than three or four in the country, one of which, the choir of Lisbon Cathedral, fell in 1755. Instead of groined vaults, barrel vaults continued to be used where a stone roof was wanted, even till the middle of the fourteenth century and later, long after they had been given up elsewhere, but usually a roof of wood was thought sufficient, sometimes resting, as was formerly thecase here, on transverse arches thrown across the nave and aisles. This was the system adopted in the cathedrals of Braga and of Oporto before they were altered, in this church and in that of Pombeiro not far off, and in that of Bayona near Vigo in Galicia.[37](Fig. 14.)
All the details are extremely refined—almost Byzantine in their delicacy—especially the capitals, and the abaci against the walls, which are carried along as a beautiful string course from pier to pier. The bases too are all carved, some with animals' heads and some with small seated figures at the angles, while the faces of the square blocks below are covered with beautiful leaf ornament. But the most curious thing in the whole church is the tomb of Egas Moniz himself.[38](Fig. 15.) Till the eighteenth century it stood in the middle of the chancel, then it was cut in two and put half against the wall of the south aisle, and half against that of the north. It has on it three bands of ornament. Of these the lowest is a rudely carved chevron with what are meant for leaves between, the next, a band of small figures including Egas on his deathbed and what is supposed to be three of his children riding side by side on an elongated horse with a camel-like head, and that on the top, larger figures showing him starting on his fateful journey to the court of Alfonso of Castile and Leon and parting from his weeping wife. Although very rude,—all the horses except that of Egas himself having most unhorselike heads and legs,—some of the figures are carved with a certain not unpleasing vigour, especially that of a spear-bearing attendant who marches with swinging skirts behind his master's horse. Outside the most remarkable feature is the fine west door, with its eight shafts, four on each side, some round and some octagonal, the octagonal being enriched with an ornament like the English dog-tooth, with their finely carved cubical capitals and rich abaci, and with the four orders of mouldings, two of which are enriched with ball ornament. Outside, instead of a drip-mould, runs a broad band covered with plaited ribbon. On the tympanum,which rests on corbels supported on one side by the head of an ox and on the other by that of a man, are a large circle enclosing a modern inscription, and two smaller circles in which are the symbols of the Sun and Moon upheld by curious little half-figures. The two apses east of the transept are of the pattern universal in Southern Europe, being divided into three equal parts by half-shafts with capitals and crowned with an overhanging corbel table.
Pombeiro.
The abbey church of Pombeiro, near Guimarães, must once have been very similar to São Salvador at Paço de Souza, except that the nave is a good deal longer, and that it once had a large narthex, destroyed about a hundred and fifty years ago by an abbot who wished to add to the west front the two towers and square spires which still exist. So full was this narthex of tombs that from the arms on them it had become a sort of Heralds' College for the whole of the north of Portugal, but now only two remain in the shallow renaissance porch between the towers. As at Paço de Souza, the oldest part of the church is the east end, where the two apses flanking the square chancel remain unaltered. They are divided as usual by semicircular shafts bearing good romanesque capitals, and crowned by a cornice of three small arches to each division, each cut out of one stone, and resting on corbels and on the capitals. Of the west front only the fine doorway is left unchanged; pointed in shape, but romanesque in detail; having three of the five orders, carved one with grotesque animals and two with leafage. Above the shallow porch is a large round window with renaissance tracery, but retaining its original framing of a round arch resting on tall shafts with romanesque capitals. Everything else has been altered, the inside being covered with elaborate rococo painted and gilt plaster-work, and the outside disfigured by shapeless rococo windows.
Although some, and especially the last two of the buildings described above belong, in part at least, to the time of transition from romanesque to first pointed, and although the group of churches at Coimbra are wholly romanesque, it would be better to have done with all that can be ascribed to a period older than the beginning of the Portuguese monarchy before following Affonso Henriques in his successful efforts to extend his kingdom southwards to the Tagus.
FIG. 14.Church, Paço de Souza. Nave.FIG. 14.Church, Paço de Souza. Nave.
FIG. 15.Paço de Souza. Tomb of Egas Moniz.FIG. 15.Paço de Souza. Tomb of Egas Moniz.
Guimarães, Castle.
Although Braga was the ecclesiastical capital of their fief,Count Henry and his wife lived usually at Guimarães, a small town some fifteen miles to the south. Towards the beginning of the tenth century there died D. Hermengildo Gonçalves Mendes, count of Tuy and Porto, who by his will left Vimaranes, as it was then called, to his widow, Mumadona. About 927 she there founded a monastery and built a castle for its defence, and this castle, which had twice suffered from Moslem invaders, was restored or rebuilt by Count Henry, and there in 1111 was born his son Affonso Henriques, who was later to become the first king of the new and independent kingdom of Portugal. Henry died soon after, in 1114, at Astorga, perhaps poisoned by his sister-in-law, Urraca, queen of Castile and Leon, and for several years his widow governed his lands as guardian for their son.
Thirteen years after Count Henry's death, in 1127, the castle was the scene of the famous submission of Egas Moniz to the Spanish king, and this, together with the fact that Affonso Henriques was born there, has given it a place in the romantic history of Portugal which is rather higher than what would seem due to a not very important building. The castle stands to the north of the town on a height which commands all the surrounding country. Its walls, defended at intervals by square towers, are built among and on the top of enormous granite boulders, and enclose an irregular space in which stands the keep. The inhabited part of the castle ran along the north-western wall where it stood highest above the land below, but it has mostly perished, leaving only a few windows which are too large to date from the beginning of the twelfth century. The square keep stands within a few feet of the western wall, rises high above it, and was reached by a drawbridge from the walk on the top of the castle walls. Its wooden floors are gone, its windows are mere slits, and like the rest of the castle it owes its distinctive appearance to the battlements which crown the whole building, and whose merlons are plain blocks of stone brought to a sharp point at the top. This feature, which is found in all the oldest Portuguese castles such as that of Almourol on an island in the Tagus near Abrantes, and even on some churches such as the old cathedral at Coimbra and the later church at Leça de Balio, is one of the most distinct legacies left by the Moors: here the front of each merlon is perpendicular to the top, but more usually it is finished in a small sharp pyramid.
Church.
The other foundation of Mumadona, the monastery of Nossa Senhora and São Salvador in the town of Guimarães, had since her day twice suffered destruction at the hands of the Moors, once in 967 when the castle was taken by Al-Coraxi, emir of Seville, and thirty years later when Almansor[39]in 998 swept northwards towards Galicia, sacking and burning as he went. At the time when Count Henry and Dona Teresa were living in the castle, the double Benedictine monastery for men and women had fallen into decay, and in 1109 Count Henry got a Papal Bull changing the foundation into a royal collegiate church under a Dom Prior, and at once began to rebuild it, a restoration which was not finished till 1172. Since then the church has been wholly and the cloisters partly rebuilt by Joãoi. at the end of the fourteenth century, but some arches of the cloister and the entrance to the chapter-house may very likely date from Count Henry's time. These cloisters occupy a very unusual position. Starting from the north transept they run round the back of the chancel, along the south side of the church outside the transept, and finally join the church again near the west front. The large round arches have chamfered edges; the columns are monoliths of granite about eighteen inches thick; the bases and the abaci all romanesque in form, though many of the capitals, as can be seen from their shape and carving, are of the fourteenth or even fifteenth century, showing how Juan Garcia de Toledo, who rebuilt the church for Dom Joãoi., tried, in restoring the cloister, to copy the already existing features and as usual betrayed the real date by his later details. A few of the old capitals still remain, and are of good romanesque form such as may be seen in any part of southern France or in Spain.[40]To the chapter-house, a plain oblong room with a panelled wood ceiling, there leads, from the east cloister walk, an unaltered archway, flanked as usual by two openings, one on either side. The doorway arch is plain, slightly horseshoe in shape, and is carried by short strong half-columns whose capitals are elaborately carved with animals and twisting branches, the animals, as is often the case,
FIG. 16.Door of Chapter House, N.S. da Oliveira.Guimarães.FIG. 16.Door of Chapter House, N.S. da Oliveira.Guimarães.
FIG. 17.Cloister.Leça do Balio.FIG. 17.Cloister.Leça do Balio.
being set back to back at the angles so that one head does duty for each pair. Above is a large hollow hood-mould exactly similar to those which enclose the side windows. The two lights of these windows are separated by short coupled shafts whose capitals, derived from the Corinthian or Composite, have stiff leaves covering the change from the round to the square, and between them broad tendrils which end in very carefully cut volutes at the angles. The heads themselves are markedly horseshoe in shape, which at first sight suggests some Moorish influence, but in everything else the details are so thoroughly Western, and by 1109 such a long time, over a hundred years, had passed since the Moors had been permanently expelled from that part of the country, that it were better to see in these horseshoes an unskilled attempt at stilting, rather than the work of some one familiar with Eastern forms. (Fig. 16.)
THE EARLY BUILDINGS IN THE SOUTH
In1057 Fernando, king of Castile, Leon and Galicia crossed the Douro, took Lamego, where the lower part of the tower is all that is left of the romanesque cathedral, and is indeed the only romanesque tower in the country. Vizeu fell soon after, and seven years later he advanced his borders to the Mondego by the capture of Coimbra. The Mondego, the only large river whose source and mouth are both in Portugal, long remained the limit of the Christian dominion, and nearly a hundred years were to pass before any further advance was made. In 1147 Affonso Henriques, who had but lately assumed the title of king, convinced at last that he was wasting his strength in trying to seize part of his cousin's dominions of Galicia, determined to turn south and extend his new kingdom in that direction. Accordingly in March of that year he secretly led his army against Santarem, one of the strongest of the Moorish cities standing high above the Tagus on an isolated hill. The vezir, Abu-Zakariah, was surprised before he could provision the town, so that the garrison were able to offer but a feeble resistance, and the Christians entered after the attack had lasted only a few days. Before starting the king had vowed that if successful he would found a monastery in token of his gratitude, and though its vast domestic buildings are now but barracks and court-houses, the great Cistercian abbey of Alcobaça still stands to show how well his vow was fulfilled.
Although Santarem was taken in 1147, the first stone of Alcobaça was not laid till 1153, and the building was carried out very slowly and in a style, imported directly from France, quite foreign to any previous work in Portugal. It were better, therefore, before coming to this, the largest church and the richest foundation in the whole country, to have donewith the other churches which though contemporary with Alcobaça are not the work of French but of native workmen, or at least of such as had not gone further than to Galicia for their models.