FIG. 46.Palace Chapel Roof.Cintra.FIG. 46.Palace Chapel Roof.Cintra.
Now the chimneys serve only as ventilators, as ordinary iron ranges have been put in. There seems to be nothing in the country at all like these chimneys—for the kitchen at Alcobaça, although it has a stream running through it, is but a poor affair compared with this one, nor is its chimney in any way remarkable outside.[96]
The rest of the palace towards the west, between the west end of the chapel and the great square tower in which is the Sala dos Escudos, was probably also built about the time of Dom Joãoi., but except for a few windows there is little of interest left which belongs to his time.
The great tower of the Sala dos Escudos was built by Dom Manoel on the top of an older building then called the Casa da Meca, in which Affonsov.was born in 1432—the year before his grandfather Dom João died—and where he himself died forty-nine years later. In another room on a higher floor—where his feet, as he walked up and down day after day, have quite worn away the tiles—Affonsovi.was imprisoned. Affonso had by his wildness proved himself quite unable to govern, and had also made himself hated by his queen, a French princess. She fell in love with his brother, so Affonso was deposed, divorced, and banished to the Azores. After some years it was found that he was there trying to form a party, so he was brought to Cintra and imprisoned in this room from 1674 till his death in 1683. These worn-out tiles are worthy of notice for their own sake since tiles with Moorish patterns, as are these here and those in the chapel, are very seldom used for flooring, and they are probably among the oldest in the palace.
Castles, Guimarães and Barcellos.
Such was the palace from the time of Joãoi.to that of Dom Manoel, a building thoroughly Eastern in plan as in detail, and absolutely unlike such contemporary buildings as the palaces of the dukes of Braganza at Guimarães or at Barcellos, or the castle at Villa da Feira between Oporto and Aveiro. The Braganza palaces are both in ruins, but their details are all such as might be found almost anywhere in Christian Europe. Large pointed doors, traceried windows and tall chimneys—these last round and of brick—differ only from similar features found elsewhere, as one dialect may differ from another, whereas Cintra is, as it were, built in a
Villa da Feira.
totally different language. The castle at Villa da Feira is even more unlike anything at Cintra. A huge keep of granite, the square turrets projecting slightly from the corners give it the look of a Norman castle, for the curious spires of brick now on those turrets were added later, perhaps under Dom Manoel. Inside there is now but one vast hall with pointed barrel roof, for all the wooden floors are gone, leaving only the beam holes in the walls, the Gothic fireplaces, and the small windows to show where they once were.
It is then no wonder that Cintra has been called the Alhambra of Portugal, and it is curious that the same names are found given to different parts of the two buildings. The Alhambra has a Mirador de Lindaraxa, Cintra a Jardim de Lindaraya; the Alhambra a Torre de las dos Hermanas, Cintra a Sala das Irmãs or of the Sisters—the part under the Sala dos Escudos where Affonsov.was born; while both at the Alhambra and here there is a garden called de las or das Damas.
OTHER MOORISH BUILDINGS
Theold palace at Cintra is perhaps the only complete building to the north of the Tagus designed and carried out by Moorish workmen scarcely, if at all, influenced by what the conquering Christians were doing round them. Further south in the province of Alemtejo Moorish buildings are more common, and there are many in which, though the design and plan as well as most of the detail may be Western, yet there is something, the whitewashed walls, the round conical pinnacles, or the flat roofs which give them an Eastern look.
And this is natural. Alemtejo was conquered after the country north of the Tagus had been for some time Christian, and no large immigration of Christians ever came to take the place of the Moors, so that those few who remained continued for long in their own Eastern ways of building and of agriculture.
It is especially in and about the town of Evora that this is seen, and that too although the cathedral built at the end of the twelfth century is, except for a few unimportant details, a Western building.
Alvito.
But more completely Eastern than any one building at Evora is the castle at Alvito, a small town some thirty or forty miles to the south-west. The town stands at the end of a long low hill and looks south over an endless plain across to Beja, one of the most extensive and, in its way, beautiful views in the country.
At one end of the town on the slope of the hill stands the castle, and not far off in one of the streets is the town hall whose tower is too characteristic of the Alemtejo not to be noticed. The building is whitewashed and perfectly plain, with ordinary square windows. An outside stair leads to theupper story, and behind it rises the tower. It, like the building, is absolutely plain with semicircular openings near the top irregularly divided by a square pier. Close above these openings is a simple cornice on which stand rather high and narrow battlements; within them rises a short eight-sided spire, and at each corner a short round turret capped by a conical roof. The whole from top to bottom is plastered and whitewashed, and it is this glaring whiteness more than anything else which gives to the whole so Eastern a look.
As to the castle, Haupt in his most interesting book,Die Baukunst der Renaissance in Portugal, says that, though he had never seen it, yet from descriptions of its plan he had come to the conclusion that it was the castle which, according to Vasari, was built by Andrea da Sansovino for Dom Joãoii.Now it is well known that Sansovino was for nine years in Portugal and did much work there, but none of it can now be found except perhaps a beautiful Italian door in the palace at Cintra; Vasari also states that he did some work in the heavy and native style which the king liked. Is it possible that the castle of Alvito is one of his works in this native style?
Vasari says that Sansovino built for Dom João a beautiful palace with four towers, and that part of it was decorated by him with paintings, and it was because Haupt believed that this castle was built round an arcaded court—a regular Italian feature, but one quite unknown in Portugal—that he thought it must be Sansovino's lost palace.
As a matter of fact the court is not arcaded—there is only a row of rough plastered arches along one side; there are five and not four towers; there is no trace now of any fine painted decoration inside; and, in short, it is inconceivable that, even to please a king, an architect of the Italian renaissance could ever have designed such a building.
The plan of the castle is roughly square with a round tower at three of the corners, and at the fourth or southern corner a much larger tower, rounded in front and projecting further from the walls. The main front is turned to the south-west, and on that side, as well as on the south-eastern, are the habitable parts of the castle. Farm buildings run along inside and outside the north-western, while the north-eastern side is bounded only by a high wall.
Half-way along the main front is the entrance gate, a plain pointed arch surmounted by two shields, that on the right charged with the royal arms, and that on the left with those of the Barão d'Alvito, to whose descendant, the Marques d'Alvito, the castle still belongs. There is also an inscription stating that the castle, begun in 1494 by the orders of Dom Joãoii.and finished in the time of Dom Manoel, was built by Dom Diogo Lobo, Barão d'Alvito.[97]
In the court a stair, carried on arches, goes up to the third floor where are the chief rooms in the house. None of them, which open one from the other or from a passage leading to the chapel in the westernmost corner, are in any way remarkable except for their windows. The ceilings of the principal rooms are of wood and panelled, but are clearly of much later date than the building and are not to be compared with those at Cintra. Most of the original windows—for those on the main front have been replaced by plain square openings—are even more Eastern than those at Cintra. They are nearly all of two lights—there is one of a single light in the passage—but are without the square framing. Each window has three very slender white marble shafts, with capitals and with abaci moulded on each side. On some of the capitals are carved twisted ropes, while others, as in a window in the large southern tower, are like those at Cintra. As the shafts stand a little way back from the face of the wall the arches are of two orders, of which only the inner comes down to the central shaft. (Fig. 47.)
These arches, all horseshoe in shape, are built of red brick with very wide mortar joints, and each brick, in both orders, is beautifully moulded or cut at the ends so as to form a series of small trefoiled cusps, each arch having as many as twenty-seven or more. The whole building is plastered and washed yellow, so that the contrast between the bare walls and the elaborate red arches and white shafts is singularly pleasing. All the outer walls are fortified, but the space between each embrasure is far longer than usual; the four corner towers rise a good deal above the rest of the buildings, but in none, except the southern, are there windows above the main roof. It has one, shaped like the rest, but now all plastered and framedin an ogee moulding. Half-way along the north-west wall, outside it, stands the keep, which curiously is not Arab at all. It is a large square tower of no great height, absolutely plain, and built of unplastered stone or marble. It has scarcely any windows, and walls of great thickness which, like those of the smaller round towers, have a slight batter. It seems to be older than the rest, and now its chief ornament is a large fig-tree growing near the top on the south side.[98]
Evora.
Of all the towns in the Alemtejo Evora is the one where Eastern influence is most strongly marked. Indeed the Roman temple and the cathedral are perhaps the only old buildings which seem to be distinctly Western, and even the cathedral has some trace of the East in its two western spires, one round and tiled, and the other eight-sided and plastered. For long Evora was one of the chief towns of the kingdom, and was one of those oftenest visited by the kings. Their palace stood close to the church of São Francisco, and must once have been a beautiful building.
Paços Reaes.
Unfortunately most of it has disappeared, and what is left, a large hall partly of the time of Dom Manoel, has been so horribly restored in order to turn it into a museum as to have lost all character.
A porch still stands at the south end, but scraped and pointed out of all beauty. It has in front four square stone piers bearing large horseshoe brick arches, and these arches are moulded and cusped exactly like those at Alvito.
Morgado de Cordovis.
There are no other examples of Moorish brickwork in the town, but there is more than one marble window resembling those at Alvito in shape. Of these the most charming are found in the garden of a house belonging to a 'morgado' or entailed estate called Cordovis. These windows form two sides of a small square summer-house; their shafts have capitals like those of the dining-room windows at Cintra, and the horseshoe arches are, as usual, cusped. A new feature, showing how the pure Arab details were being gradually combined with Gothic, is an ogee moulding which, uniting the two arches, ends in a large Gothic finial; other mouldings run up the cornice at the angles, and the whole, crowned with battlements, ends in a short round whitewashed spire.
FIG. 47.Castle, Alvito.Courtyard.FIG. 47.Castle, Alvito.Courtyard.
FIG. 48.EvoraChapter House Door of São João, Evangelista.FIG. 48.EvoraChapter House Door of São João, Evangelista.
Sempre Noiva.
Some miles from Evora among the mountains, Affonso ofPortugal, archbishop of Evora, built himself a small country house which he called Sempre Noiva, or 'Ever New,' about the beginning of the sixteenth century. It is now a ruin having lost all its woodwork, but the walls are still well preserved. The plan is simple; a rectangle with a chapel projecting from the eastern side, and a small wing from the west end of the south side. All the ground floor is vaulted, as is the chapel, but the main rooms on the first floor had wooden roofs, except the one next the chapel which forms the middle floor of a three-storied tower, which, rising above the rest of the building, has a battlemented flat roof reached by a spiral stair. This stair, like the round buttresses of the chapel, is capped by a high conical plastered roof. As usual the whole, except the windows and the angles, is plastered and has a sgraffito frieze running round under the cornice. There is a large porch on the north side covering a stair leading to the upper floor, where most of the windows are of two lights and very like those of the pavilion at Evora. Two like them have the ogee moulding, and at the sides a rounded moulding carried on corbels and finished above the window with a carved finial. The capitals are again carved with leaves, but the horseshoe arches have no cusps, and the mouldings, like the capitals, are entirely Gothic; the union between the two styles, Gothic and Arab, was already becoming closer.
Naturally Moorish details are more often found in secular than in religious buildings: yet there are churches where such details exist even if the general plan and design is Christian.
São João Evangelista, Evora.
Just to the north of the cathedral of Evora, Rodrigo Affonso de Mello, count of Olivença, in 1485 founded a monastery for the Loyos, or Canons Secular of St. John the Evangelist. The church itself is in no way notable; the large west door opening under a flat arched porch is one of these with plain moulded arches and simple shafts which are so common over all the country, and is only interesting for its late date. At the left side is a small monument to the founder's memory; on a corbel stands a short column bearing an inscribed slab, and above the slab is a shield under a carved curtain. Inside are some tombs—two of them being Flemish brasses—and great tile pictures covering the walls. These give the life of São Lorenzo Giustiniani, patriarch of Venice, and canon of San Giorgio in Alga, where the founder of theLoyos had been kindly received and whence he drew the rules of his order, and are interesting as being signed and dated 'Antonius ab oliva fecit 1711.'
The cloisters are also Gothic with vine-covered capitals, but the entrance to the chapter-house and refectory is quite different. In general design it is like the windows at Sempre Noiva, two horseshoe arches springing from the capitals of thin marble shafts and an ogee moulding above. The three shafts are twisted, the capitals are very strange; they are round with several mouldings, some fluted, some carved with leaves, some like pieces of rope: the moulded abaci also have four curious corbels on two sides. The capitals are carried across the jambs and the outer moulding, which is of granite, as is the whole except the three shafts and their caps, and between the shafts and this moulding there is a broad band of carved foliage. The ogee and the side finials or pinnacles, which are of the same section as the outer moulding from which they spring, are made of a bundle of small rolls held together by a broad twisted ribbon. Lastly, between the arches and the ogee there is a flat marble disk on which is carved a curious representation of a stockaded enclosure, supposed to be memorial of the gallant attack made by Affonso de Mello on Azila in Morocco.[99]The whole is a very curious piece of work, the capitals and bases being, with the exception of some details at Thomar and at Batalha, the most strange of the details of that period, though, were the small corbels left out, they would differ but little from other Manoelino capitals, while the bases may be only an attempt of a Moorish workman to copy the interpenetration of late Gothic. (Fig. 48.)
São Francisco, Evora.
Not much need be said here of the church of São Francisco or of the chapel of São Braz, both begun at about the same time. São Francisco was long in building, for it was begun by Affonsov. in 1460 and not finished till 1501. It is a large church close to the ruins of the palace at Evora, and has a wide nave without aisles, six chapels on each side, larger transept chapels, and a chancel narrower than the nave. It is, like most of Evora, built of granite, has a pointed barrel vault cut into by small groins at the sides and scarcely any windows, for the outer walls of the side chapels are carried up so as to leave a narrow space between them and the nave wall. This was probably done to support the main vault, but the result isthat almost the only window is a large one over the west porch. It is this porch that most strongly shows the hand of Moorish workmen. It is five bays long and one deep, and most of the five arches in front, separated by Gothic buttresses and springing from late Gothic capitals, are horseshoe in shape. The white marble doorway has two arches springing from a thin central shaft, which like the arches and the two heavy mouldings, which forming the outer part of the jambs are curved over them, is made of a number of small rounds partly straight and partly twisted. At the corners of the church are large round spiral pinnacles with a continuous row of battlements between; these battlements interspersed with round pinnacles are even set all along the ridge of the vault. The reredos and the stalls made by Olivel of Ghent in 1508 are gone; so are Francisco Henriques' stained windows, but there are still some good tiles, and in a large square opening looking into the chancel there is a shaft with a beautiful early renaissance capital.
São Braz, Evora.
São Braz stands outside the town near the railway station. It was built as a pilgrimage chapel soon after 1482, when the saint had been invoked to stay a terrible plague. It is not large, has an aisleless nave of four bays, a large porch with three wide pointed arches at the west, and a sort of domed chancel. Most of the details are indeed Gothic, but there is little detail, and the whole is entirely Eastern in aspect. It is all plastered, the buttresses are great rounded projections capped with conical plastered roofs; there are battlements on the west gable and on the three sides of the porch, which also has great round conical-topped buttresses or turrets at the angles.
Inside there are still fine tiles, but the sgraffito frieze has nearly disappeared from the outer cornice.
There is also an interesting church somewhat in the same style as São Braz, but with aisles and brick flying buttresses at Vianna d'Alemtejo near Alvito.
MOORISH CARPENTRY
Ifit was only in the south that Moorish masons built in stone or brick, their carpenters had a much wider range. The wooden ceilings of as late as the middle of the seventeenth century may show no Eastern detail, yet in the method of their construction they are all ultimately descended from Moorish models. Such ceilings are found all over the country, but curiously enough the finest examples of truly Eastern work are found in the far north at Caminha and in the island of Madeira at Funchal.
Aguas Santas.
The old romanesque church at Aguas Santas near Oporto has a roof, simple and unadorned, the tie-beams of which are coupled in the Moorish manner. The two beams about a foot apart are joined in the centre by four short pieces of wood set diagonally so as to form a kind of knot. This is very common in Moorish roofs, and may be seen at Seville and elsewhere. The rest of the roof is boarded inside, boards being also fastened to the underside of the collar beams.
Azurara.
At Azurara the ties are single, but the whole is boarded as at Aguas Santas, and this is also the case at Villa do Conde and elsewhere.
In the palace chapel at Cintra, already described, the boarding is covered with a pattern of interlacing strips, but later on panelling was used, usually with simple mouldings. Such is the roof in the nave of the church of Nossa Senhora do Olival at Thomar, probably of the seventeenth century, and in many houses, as for instance in the largest hall in the castle at Alvito. From such simple panelled ceilings the splendid elaboration of those in the palace at Cintra was derived.
Caminha.
The roofs at Caminha and at Funchal are rather different. At Caminha the roof is divided into bays of such a size thateach of the three divisions, the two sloping sides and the flat centre under the collar ties, is cut into squares. In the sloping sides these squares are divided from each other by a strip of boarding covering the space occupied by three rafters. On this boarding are two bands of ornament separated by a carved chain, while one band, with the chain, is returned round the top and bottom of the square. Between each strip of boarding are six exposed rafters, and these are united alternately by small knots in the middle and at the ends, and by larger and more elaborate knots at the ends. In the flat centre under the collar ties each square is again surrounded by the band of ornament and by the chains, but here band and chain are also carried across the corners, leaving a large octagon in the centre with four triangles in the angles. Each octagon has a plain border about a foot wide, and within it a plain moulding surrounding an eight-sided hollow space. All these spaces are of some depth; each has in the centre a pendant, and in each the opening is fringed with tracery or foliation. In some are elaborate Gothic cuspings, in others long carved leaves curved at the ends; and in one which happens to come exactly over an iron tie-rod—for the rods are placed quite irregularly—the pendant is much longer and is joined to the tie by a small iron bar. At the sides the roof starts from a cornice of some depth whose mouldings and ornamentation are more classic than Gothic. (Fig. 49.)
In the side aisles the cornice is similar, but of greater projection, and the rafters are joined to each other in much the same way, but more simply.
Funchal.
At Funchal the roof is on a larger scale: there is no division into squares, but the rafters are knotted together with much greater elaboration, and the flat part is like the chapel roof at Cintra, entirely covered with interlacing strips forming an intricate pattern round hollow octagons.
Sala dos Cysnes, Cintra.
The simple boarding of the earlier roofs may well have led to the two wonderful ceilings at Cintra, those in the Sala dos Cysnes, and in the Sala dos Brazões or dos Escudos, but the idea of the many octagons in the Sala dos Cysnes may have come from some such roof as that at Caminha, when the octagons are so important a feature of the design. In that hall swans may have first been painted for Dom João, but the roof has clearly been remade since then, possibly under Dom Manoel. The gilt ornament on the mouldingsseem even later, but may of course have been added afterwards, though it is not very unlike some of the carving on the roof at Caminha, an undoubted work of Dom Manoel's time.
This great roof in the Swan Hall has a deep and projecting classical cornice; it is divided into three equal parts, two sloping and one flat, with the slopes returned at the ends. The whole is made up of twenty-three large octagons and of four other rather distorted ones in the corners, all surrounded with elaborate mouldings, carved and gilt like the cornice. From the square or three-sided spaces left between the octagons there project from among acanthus leaves richly carved and gilt pendants.
In each of the twenty-seven octagons there is painted on a flat-boarded ground a large swan, each wearing on its neck the red velvet and gold collar made by Dona Isabel for the real swans in the tank outside. These paintings, which are very well done, certainly seem to belong to the seventeenth century, for the trees and water are not at all like the work of an artist of Dom Manoel's time. (Fig. 50.)
Sala dos Escudos, Cintra.
Even more remarkable is the roof of the Sala dos Brazões or dos Escudos—that is 'of the shields'—also built by Dom Manoel, and also retouched at the same time as that in the Sala dos Cysnes. This other hall is a large room over forty feet square. The cornice begins about twelve feet from the ground, the walls being covered with hunting scenes on blue and white tiles of about the end of the seventeenth century. The cornice, about three feet deep and of considerable projection, is, like all the mouldings, painted blue and enriched with elaborate gilt carving. On the frieze is the following inscription in large gilt letters:
Pois com esforços leaisServiços foram ganhadasCom estas e outras taisDevem de ser comservadas.[100]
The inscription is interrupted by brackets, round which the cornice is returned, and on which rest round arches thrown across the four corners, bringing the whole to an equal-sided octagon.
FIG. 49.Caminha. Roof of Matriz.FIG. 49.Caminha.Roof of Matriz.
FIG. 50.Palace, Cintra. Sala dos Cysnes.FIG. 50.Palace, Cintra.Sala dos Cysnes.
CINTRA. Portugal. Old Palace. Sala dos Brazões.CINTRA.Portugal.Old Palace.Sala dos Brazões.
These triangular spaces are roofed with elaborate wooden vaults, with carved and gilt ribs leaving spaces painted blue and covered with gilt ornament. Above the cornice the panelling rises perpendicularly for about eleven feet; there being on each cardinal side eight panels, in two rows of four, one above the other, and over each arch four more—forty-eight panels in all. Above this begins an octagonal dome with elaborately carved and gilt mouldings, like those round the panels, in each angle and round the large octagon which comes in the middle of each side. The next stage is similar, but set at a different angle, and with smallerand unequal-sided octagons, while the dome ends in one large flat eight-sided panel forty-five feet above the floor. All the space between the mouldings and the octagons is filled with most elaborate gilt carving on a blue ground. Nor does the decoration stop here, for the whole is a veritable Heralds' College for all the noblest families of Portugal in the early years of the sixteenth century. The large flat panel at the top is filled with the royal arms carved and painted, with a crown above and rich gilt mantling all round. In the eight panels below are the arms of Dom Manoel's eight children, and in the eight large octagons lower down are painted large stags with scrolls between their horns; lastly, in each of the forty-eight panels at the bottom, and of the six spaces which occur under each of the vaults in the four corners; in each of these seventy-two panels or spaces there is painted a stag. Every stag has round its neck a shield charged with the arms of a noble family, between its horns a crest, and behind it a scroll on which is written the name of the family.[101]
The whole of this is of wood, and for beauty and originality of design, as well as for richness of colour, cannot be surpassed anywhere. In any northern country the seven small windows would not let in enough light, and the whole dome would be in darkness, but the sky and air of Portugal are clear enough for every detail to be seen, and for the gold on every moulding and piece of carving to gleam brightly from the blue background.
None of the ceilings of later date are in any way to be compared in beauty or richness with those of these two halls, for in all others the mouldings are shallower and the panels flatter.
Coimbra Misericordia.
In Coimbra there are two, both good examples of a simpler form of such ceilings. They are, one in the Misericordia—the headquarters of a corporation which owns and looks after all the hospitals, asylums and orphanages in the town—and one in the great hall of the University. The Misericordia, built by bishop Affonso de Castello Branco about the end of the sixteenth century, has a good cloister of the later renaissance, and opening off it two rooms of considerable size with panelledceilings, of which only one has its original painting. A cornice of some size, with brackets projecting from the frieze to carry the upper mouldings, goes round the room, and is carried across the corners so that at the ends of the room the ceiling has one longer and two quite short sides. The lower sloping part of the ceiling all round is divided into square panels with three-sided panels next the squares on the short canted sides; the upper slope is divided in exactly the same way so that the flat centre-piece consists of three squares set diagonally and of four triangles. All the panels are painted with a variety of emblems, but the colours are dark and the ceiling now looks rather dingy.
Sala dos Capellos University.
The great hall of the University built by the rector, Manoel de Saldanha, in 1655 is a very much larger and finer room. A raised seat runs round the whole room, the lower part of the walls are covered with tiles, and the upper with red silk brocade on which hang portraits of all the kings of Portugal, many doubtless as authentic as the early kings of Scotland at Holyrood. Here only the upper part of the cornice is carried across the corners, and the three sides at either end are equal, each being two panels wide.
As in the Misericordia the section of the roof is five-sided, each two panels wide. All the panels are square except at the half-octagonal ends where they diminish in breadth towards the top: they are separated by a large cable moulding and are painted alternately red and blue with an elaborate design in darker colour on each. (Fig. 51.)
The effect is surprisingly good, for each panel with its beautiful design of curling and twisting acanthus, of birds, of mermaids and of vases has almost the look of beautiful old brocade, for the blues and reds have grown soft with age.
Santa Clara, Villa do Conde.
Before finally leaving wood ceilings it were better to speak of another form or style which was sometimes used for their decoration although they are even freer from Moorish detail than are those at Coimbra, though probably like them ultimately derived from the same source. One of the finest of these ceilings is found in the upper Nuns' Choir in the church of Santa Clara at Villa do Conde. The church consists of a short nave with transepts and chancel all roofed with panelled wooden ceilings, painted grey as is often the case, and in no way remarkable. The church was founded in 1318, but the ceilings and stalls of both Nuns' Choirs, which,
Convent, Aveiro.
one above the other take up much the greater part of the nave, cannot be earlier than the first half of the seventeenth century. Like the other ceilings it is polygonal in section, but unlike all Moorish ones is not returned round the ends. Above a finely carved cornice with elaborate frieze, the whole ceiling is divided into deeply set panels, large and small squares with narrow rectangles between: all alike covered with elaborate carving, as are also the mouldings and the flat surfaces of the dividing bands. Here the wood is left in its natural colour, but in the nave of the church of a large convent at Aveiro, where the general design of the ceiling is almost the same, pictures are painted in the larger panels, and all the rest is heavily gilt, making the whole most gorgeous.
As time went on wooden roofs became less common, stone barrel vaults taking their place, but where they were used they were designed with a mass of meaningless ornament, lavished over the whole surface, which was usually gilt. One of the most remarkable examples of such a roof is found in the chancel of that same church at Aveiro. It is semicircular in shape and is all covered with greater and smaller carved and gilt circles, from the smallest of which in the middle large pendants hang down.
These circles are so arranged as to make the roof almost like that of Henryvii.Chapel, though the two really only resemble each other in their extreme richness and elaboration. This same extravagance of gilding and of carving also overtook altar and reredos. Now almost every church is full of huge masses of gilt wood, in which hardly one square inch has been left uncarved; sometimes, if there is nothing else, and the whole church—walls and ceiling alike—is a mass of gilding and painting, the effect is not bad, but sometimes the contrast is terrible between the plain grey walls of some old and simple building and the exuberance behind the high altar.
FIG. 51.Coimbra. Hall of University.FIG. 51.Coimbra.Hall of University.
EARLY MANOELINO
Affonsov., the African, had died and been succeeded by his son Joãoii.in 1487. João tried, not without success, to play the part of Louisxi.of France and by a judicious choice of victims (he had the duke of Braganza, the richest noble in the country, arrested by a Cortes at Evora and executed, and he murdered his cousin the duke of Vizeu with his own hand) he destroyed the power of the feudal nobility. Enriched by the confiscation of his victims' possessions, the king was enabled to do without the help of the Cortes, and so to establish himself as a despotic ruler. Yet he governed for the benefit of the people at large, and reversing the policy of his father Affonso directed the energies of his people towards maritime commerce and exploration instead of wasting them in quarrelling with Castile or in attempting the conquest of Morocco. It was he who, following the example of his grand-uncle Prince Henry, sent out ship after ship to find a way to India round the continent of Africa. Much had already been done, for in 1471 Fernando Po had reached the mouth of the Niger, and all the coast southward from Morocco was well known and visited annually, for slaves used to cultivate the vast estates in the Alemtejo; but it was not till 1484 that Diogo Cão, sent out by the king, discovered the mouth of the Congo, or till 1486 that Bartholomeu Diaz doubled the Cabo Tormentoso, an ill-omened name which Dom João changed to Good Hope.
Dom Joãoii.did not live to greet Vasco da Gama on his return from India, for he died in 1495, but he had already done so much that Dom Manoel had only to reap the reward of his predecessor's labours. The one great mistake he made was that in 1493 he dismissed Columbus as a dreamer, and so left the glory of the discovery of America to Ferdinandand Isabella. Besides doing so much for the trade of his country, Dom João did what he could to promote literature and art. Andrea da Sansovino worked for him for nine years from 1491 to 1499, and although scarcely anything done by him can now be found, he here too set an example to Dom Manoel, who summoned so many foreign artists to the country and who sent so many of his own people to study in Italy and in Flanders.
Four years before Dom João died, his only son Affonso, riding down from Almerim to the Tagus to meet his father, who had been bathing, fell from his horse and was killed. In 1495 he himself died, and was succeeded by his cousin, Manoel the Fortunate. Dom Manoel indeed deserved the name of 'Venturoso.' He succeeded his cousin just in time to see Vasco da Gama start on his great voyage which ended in 1497 at Calicut. Three years later Pedro Alvares Cabral landed in Brazil, and before the king died, Gôa—the great Portuguese capital of the East—had become the centre of a vast trade with India, Ormuz[102]in the Persian Gulf of trade with Persia, while all the spices[103]of the East flowed into Lisbon and even Pekin[104]had been reached.
From all these lands, from Africa, from Brazil, and from the East, endless wealth poured into Lisbon, nearly all of it into the royal treasury, so that Dom Manoel became the richest sovereign of his time.
In some other ways he was less happy. To please the Catholic Kings, for he wished to marry their daughter Isabel, widow of the young Prince Affonso, he expelled the Jews and many Moors from the country. As they went they cursed him and his house, and Miguel, the only child born to him and Queen Isabel, and heir not only to Portugal but to all the Spains, died when a baby. Isabel had died at her son's birth, and Manoel, still anxious that the whole peninsula should be united under his descendants, married her sister Maria. His wish was realised—but not as he had hoped—for his daughter Isabel married her cousin Charlesv.and so was the mother of Philipii., who, when Cardinal King Henry died in 1580, was strong enough to usurp the throne of Portugal.
Being so immensely rich, Dom Manoel was able to coverthe whole land with buildings. Damião de Goes, who died in 1570, gives a list of sixty-two works paid for by him. These include cathedrals, monasteries, churches, palaces, town walls, fortifications, bridges, arsenals, and the draining of marshes, and this long list does not take in nearly all that Dom Manoel is known to have built.
Nearly all these churches and palaces were built or added to in that peculiar style now called Manoelino. Some have seen in Manoelino only a development of the latest phase of Spanish Gothic, but that is not likely, for in Spain that latest phase lasted for but a short time, and the two were really almost contemporaneous.
Manoelino does not always show the same characteristics. Sometimes it is exuberant Gothic mixed with something else, something peculiar, and this phase seems to have grown out of a union of late Gothic and Moorish. Sometimes it is frankly naturalistic, and this seems to have been developed out of the first; and sometimes Gothic and renaissance are used together. In this phase, the composition is still always Gothic, though the details may be renaissance. At times, of course, all phases are found together, but those which most distinctly deserve the name, Manoelino, are the first and second.
The shape of the arches, whether of window or of door, is one of the most characteristic features of Manoelino. After it had been well established they were rarely pointed. Some are round, some trefoils; some have a long line of wavy curves, others a line of sharp angles and curves together.[105]In others, like the door to the Sala das Pegas at Cintra, and so probably derived from Moorish sources, the arch is made of three or more convex curves, and in others again the arch is half of a straight-sided polygon, while in many of the more elaborate all or many of these may be used together to make one complicated whole of interlacing mouldings and hanging cusps.
The capitals too are different from any that have come before. Some are round, but they are more commonly eight-sided, or have at least an eight-sided abacus, often with the sides hollow forming a star. If ornamented with leaves, the leaves do not grow out of the bell but are laid round it like awreath. But leaf carving is not common; usually the caps are merely moulded, one or two of the mouldings being often like a rope; or branches may be set round them sometimes bound together with a broad ribbon like a bent faggot. The bases too are usually octagonal with an ogee section.
Another feature common to all phases is the use of round mouldings, either one by itself—often forming a kind of twisting broken hood-mould—or of several together, when they usually form a spiral. Such a round moulding has already been seen forming an ogee over the windows at Sempre Noiva and over the chapter-house door at São João Evangelista, Evora, and there are at Evora two windows side by side, in one of which this round moulding forms a simple ogee, while in the other it forms a series of reversed curves after the true Manoelino manner.