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72-549: Estoi is a village and parish in the municipality of Faro, a rural zone that extends from the fertile fields of Campina de Faro , until the peaks of Serra do Monte Figo (Cerros de São Miguel, Azinheiro, Malhão, Bemposta, Monteiro and Guelhim), that have been, since antiquity, beacons for navigation and natural outlooks along the coast of the Algarvian Riviera. The Palace of Estoi is a rococo building renowned for its gardens and azulejos (blue and white tiled ceramic). The palace

144-610: A complex framework such as in the Igreja de Santa Maria de Marvila in Santarém, Portugal with one of the most outstanding tile-based interior decorations in Portugal. When the diagonal tiles were replaced by a repetitive pattern of horizontal polychrome tiles, one could obtain a new design with different motifs, interlacing Mannerist drawings with representations of roses and camellias (sometimes roses and garlands ). An inset votive usually depicts

216-430: A constructive function but which were also decorative. Brick held great importance as a material of construction, its maneuverability and resistance, aesthetic characteristics and inexpensive nature, made it suitable for architecture that needed to be built in a timely fashion. Mudejar decoration and ornamentation includes stylized calligraphy and intricate geometric and vegetal forms. The classic Mudéjar elements include

288-410: A dependency of Polícia Judiciária , has identified the limitation and control of the sale of ancient tiles in those markets as their main goal. The city of Lisbon has created the 'Banco do Azulejo' ( tile bank ), which collects and stores around 30 thousand tiles from demolished or condemned buildings and from donations. Similar projects exist in the cities of Aveiro, Porto, and Ovar. In August 2017,

360-625: A driving force in the revival and the updating of the art of the azulejo , which had gone in some decline. Her decorations of the station Intendente is considered a masterpiece of contemporary tile art . The Museu Nacional do Azulejo in Lisbon houses the largest collection of Portuguese tiles in the world. Azulejo tiles are present in almost every station in the Lisbon Metro system. Initially, painter Maria Keil (1914–2012), wife of metro system architect Francisco Keil do Amaral (1910–1975) created

432-588: A gallery of columns around a courtyard. The excavations brought to light an extensive Roman villa with adjacent buildings. The villa ruins of Milreu show that the area was already populated in Roman times. Azulejo Azulejo ( Portuguese: [ɐzuˈle(j)ʒu, ɐzuˈlɐjʒu] , Spanish: [aθuˈlexo] ; from the Arabic الزليج , al- zillīj ) is a form of Portuguese and Spanish painted tin-glazed ceramic tilework . Azulejos are found on

504-454: A key feature of Islamic art and architectural traditions, but in conveying the sumptuousness of materials and ornament. Many decorative arts were applied to architecture, such as the tiling and ceramic work, as well as carving practices. To enliven the surfaces of wall and floor, Mudéjar art developed complicated tiling patterns. The motifs on tile work are often abstract, leaning more on vegetal designs and straying from figural images (which

576-539: A metal or wooden mould over the unbaked tile, leaving a motif delineated by thin ridges of clay that prevented the different colours in between from bleeding into each other during baking. This was similar to the older cuerda seca technique but more efficient for mass production. The motifs on these tiles imitated earlier Islamic and Mudéjar designs from the zellij mosaic tradition or blended them with contemporary European influences such as Gothic or Italian Renaissance . Fine examples of these tiles can be found in

648-467: A new law was put in place in order to prevent both the demolition of tile-covered buildings and renovation work that includes the removal of tiles, even if they affect only the building's interior. Mud%C3%A9jar architecture Mudéjar art , or Mudéjar style , was a type of ornamentation and decoration used in the Iberian Christian kingdoms, primarily between the 13th and 16th centuries. It

720-426: A range of objects, from bowls and plates to candlesticks. Mudejar style ceramics were typically worked in three “styles:” green-purple ware (manganese green), ( cobalt ) blue ware, and gold-glazed ware ( lusterware ). Mudejar artisans introduced their perfected glazing techniques to Medieval Europe where Mudejar pottery from Manises, Paterna, and Teruel were the most popular. A transparent glaze could be achieved through

792-519: A revival in the late-19th and the early-20th-century Spain and Portugal as Neo-Mudéjar style. Mudéjar was originally the term used for Muslims of Al-Andalus who remained after the Christian reconquest of Muslim controlled territories in the later Middle Ages but were not initially converted to Christianity or exiled. It was a medieval Castilian borrowing of the Arabic word Mudajjan مدجن , meaning "tamed", referring to Muslims who submitted to

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864-538: A scene from the life of Christ or a saint. These carpet compositions ( azulejo de tapete ), as they were called, elaborately framed with friezes and borders, were produced in great numbers during the 17th century. The best examples are to be found in the Igreja do Salvador, Évora , Igreja de S. Quintino, Obral de Monte Agraço, Igreja de S. Vicente, Cuba (Portugal) and the university chapel in Coimbra . The use of azulejos for

936-710: A single colour, cut into geometric shapes, and assembled to form geometric patterns . Many examples can be admired in the Alhambra of Granada . This tradition was continued for a time in Mudéjar architecture in Spain (e.g. in the 14th-century sections of the Alcázar of Seville ), and has been perpetuated to this day in Morocco . When former Moorish-controlled territories came under Spanish rule in Spain, new techniques of tilemaking developed from

1008-634: A “common visual language” rather than a cohesive structure with particular regulations. This led to Mudejar design themes in the New World to be considered purely a continuation of an architectural blend that was unique to Spain. The Church of San Miguel in Sucre , Bolivia, provides an example of Mudéjar in Hispanic America with its interior decorations and the open floor plan. Mudéjar geometric design can be seen through its octagonal patterned wood ceiling and in

1080-599: Is common in Islamic work). The colors of tile work of the Mudéjar period are much brighter and more vibrant than other European styles. The production process was also typical of techniques that had been used in Islamic Iberia, the tile was fired before it was cut into smaller, more manageable pieces. This approach meant that the tiles and glaze work shrank less in the firing process, and retained their designs more clearly. This allowed

1152-461: Is considered one of the greatest surviving examples of Mudéjar Gothic and Mudéjar Renaissance architecture although its so-called Mudéjar Rooms are directly related to the Moorish Nasirid architecture of the Alhambra rather than to Mudéjar art techniques; the Christian king Pedro of Castile employed architects from the then Islamic Emirate of Granada to construct them. Mudéjar art emerged in

1224-814: Is the work of Francisco de Matos , probably the nephew and pupil of Marçal de Matos. Both drew their inspiration from Renaissance and Mannerist paintings and engravings from Italy and Flanders. A fine collection of 16th-century azulejos ( azulejos Hispano-mouriscos ) can be found in the Museu da Rainha D. Leonor in Beja , Portugal (the former Convento da Conceição ). In the late 16th century, checkered azulejos were used as decoration for large surfaces, such as in churches and monasteries. Diagonally placed plain white tiles were surrounded by blue square ones and narrow border tiles. Shortly afterwards, these plain white tiles were replaced by polychrome tiles ( enxaquetado rico ) often giving

1296-450: Is valuable in that it represents peaceful co-existence between Muslims and Christians during the medieval era, although all Muslims and Jews in Spain eventually were forced to convert to Christianity or exiled between the late 15th century and the early-to-mid 16th century . The Mudéjar decorative elements were developed in Iberia specially in the context of historic architecture. There was

1368-561: The Corredor das Mangas in the Queluz National Palace . The mass-produced tiles acquired a more stereotypic design with predominant polychrome irregular shell motifs. The reconstruction of Lisbon after the great earthquake of 1755 gave rise to a more utilitarian role for decoration with azulejos . This bare and functional style would become known as the Pombaline style , named after

1440-611: The Hospital de Santa Marta , Lisbon, or in the Convent of Santa Maria de Almoster and the Convento de Santa Cruz do Buçaco . During the same period another motif in friezes was introduced: floral vases flanked by birds, dolphins or putti , the so-called albarradas . They were probably inspired by Flemish paintings of flower vases, such as by Jan Brueghel the Elder . These were still free-standing in

1512-756: The Ligurian laggion ) is derived from the Arabic الزليج ( al-zillīj ), zellij meaning "polished stone" because the original idea was to imitate the Byzantine and Roman mosaics. The Spanish city of Seville became the major centre of the Hispano-Moresque tile industry. The earliest azulejos in the 13th century were panels of tile-mosaic known as alicatados (from Arabic: ﻗَﻄَﻊَ , romanized:  qata'a , lit.   'to cut'), known as zellij in Islamic architecture . Tiles were glazed in

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1584-561: The Marquis of Pombal , who was put in charge of rebuilding the country. Small devotional azulejo panels started to appear on buildings as protection against future disasters. In Mexico , a large producer of Talavera —a Mexican maiolica, there are several instances of the use of azulejos on buildings and mansions. One particular mansion, the Casa de los Azulejos in Mexico City , was built in 1737 for

1656-841: The Paço Ducal of Vila Viçosa (Alentejo). One of the early Portuguese masters of the 16th century was Marçal de Matos , to whom Susanna and the Elders (1565), in Quinta da Bacalhoa , Azeitão, is attributed, as well as the Adoration of the Shepherds (in the National Museum of Azulejos in Lisbon). The Miracle of St. Roque (in the Church of S. Roque, Lisbon) is the first dated Portuguese azulejo composition (1584). It

1728-469: The Philippines , Goa (India), Lusophone Africa , East Timor , and Macau (China). Azulejos constitute a major aspect of Portuguese architecture and Spanish architecture to this day and are fixtures of buildings across Portugal, Spain and their former territories. Many azulejos chronicle major historical and cultural aspects of both Portuguese and Spanish history . The word azulejo (as well as

1800-429: The black market , despite efforts to raise awareness among buyers, many of whom are foreign tourists. Since 2013, it is illegal to demolish buildings in Portugal with tile-covered façades. The highest number of thefts occurs in Lisbon and authorities estimate that 25% of artistic tiles in that city was lost between 1980 and 2000. The main azulejo protection group in Portugal, SOS Azulejo, created in 2007 and working as

1872-449: The horseshoe and multi-lobed arch, muqarna vaults, alfiz (molding around an arch), wooden roofing, fired bricks, glazed ceramic tiles, and ornamental stucco work. Mudejar plasterwork, sometimes called Yeseria , includes all the Islamic motifs, such as epigraphic, “atauriques,” or arabesque ornament, and geometrical motifs, although motifs of Christian art are also included, such as Gothic vegetables and shields, they are depicted in

1944-531: The 16th century, imported Mudéjar art decorated tiles from Seville appear in churches and palaces, such as the Royal Palace of Sintra. Christian builders and craftsmen carried Mudéjar style elements to the overseas territories of the Spanish empire, especially in the 16th century, complementing Renaissance architecture before the emergence of Baroque. The Mudéjar "style" in architecture is most accurately described as

2016-502: The 17th century, but they would be used in repetitive modules in the 18th century. Azulejos dating from 1642 are in the Basilica and Convent de San Francisco de Lima , Peru. ) Another type of azulejo composition, called aves e ramagens ('birds and branches'), came into vogue between 1650 and 1680. They were influenced by the representations on printed textiles that were imported from India: Hindu symbols, flowers, animals and birds. In

2088-465: The 18th century were: António Pereira (artist) , Manuel dos Santos, the workshop of António de Oliveira Bernardes and his son Policarpo de Oliveira Bernardes ; the Master PMP (only known by his monogram) and his collaborators Teotónio dos Santos and Valentim de Almeida ; Bartolomeu Antunes and his pupil Nicolau de Freitas . As their production coincided with the reign of King João V (1706–1750),

2160-1013: The Academia de Bellas Artes de San Fernando in 1859. The Muslims living in the medieval Christian kingdoms of the Iberian Peninsula , called Mudejars , were tolerated and could practice their religion with certain restrictions. However, soon after the last Muslim stronghold in the peninsula, the Granada , fell to the Christian Castile in 1492, Muslims were forced to choose between becoming Christians or to leave, first in Castile and soon after in Aragon . Those who chose to convert and stay were called Moriscos , and were often suspected of secretly practicing Islam, and were finally expelled from Spain after 1609. What allowed Mudejar culture to survive and flourish in

2232-604: The Arab Room of the Sintra National Palace (including the famous cuenca tiles with the armillary sphere, symbol of king Manuel I). The Portuguese adopted the Moorish tradition of horror vacui ('fear of empty spaces') and covered the walls completely with azulejos . Potters from Italy came into Seville in the early 16th century and established workshops there. They brought with them the maiolica techniques which allowed

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2304-668: The Azulejo', the so-called Cycle of the Masters ( Ciclo dos Mestres ). Mass production was started not just because of a greater internal demand, but also because of large orders came in from the Portuguese colony of Brazil . Large one-off orders were replaced by the less expensive use of repetitive tile patterns. Churches, monasteries, palaces and even houses were covered inside and outside with azulejos , many with exuberant Baroque elements. The most prominent master-designers in these early years of

2376-459: The Christian architectural practices of the different regions in the Christian kingdoms differed greatly, but all come under the general umbrella term of Mudejar art . Mudejar style in architecture refers to the application of decorative Islamic art styled motifs and patterning to Christian styles of architecture. It is thought to have begun with Muslim craftsmen who applied traditional constructive, ornamental, and decorative elements derived from

2448-484: The Count and Countess of El Valle de Orizaba. Ceramic making traditions were imported to Mexico in the early 16th century and have flourished. As a reaction, simpler and more delicate Neoclassical designs started to appear with more subdued colours. These themes were introduced in Portugal by the engravings of Robert and James Adams. The Real Fábrica de Louça do Rato , with the master-designer Sebastião Inácio de Almeida and

2520-575: The Historic Center of São Luís was declared a World Heritage Site by UNESCO . São Luís is also known as "Cidade dos Azulejos". In the first half of the 19th century, there was a stagnation in the production of decorative tiles, owing first to the incursion of the Napoleonic army and later to social and economic changes. When around 1840 immigrant Brazilians started an industrialized production in Porto ,

2592-580: The Islamic arts to Christian styles of architecture. These methods became part of local Christian building traditions and were applied to Romanesque , Gothic , and Renaissance architectural styles in the expanding Christian kingdoms of Iberia. These decorative techniques included calligraphy, intricate geometry, and vegetal forms derived from Islamic art and architecture. Mudejar constructive systems were very simple and extremely effective. The materials used included brick, along with other artificial stone materials, and wood, which were not only entrusted with

2664-570: The Kingdom of León: notable examples can be found in Toledo , Ávila , Segovia , Toro , Cuéllar , Arévalo and Madrigal de las Altas Torres . Later, Mudéjar was spread into southern Spain by the Kingdom of Castile . A particularly fine example of Mudéjar Renaissance is the Casa de Pilatos , built in the early 16th century at Seville . Seville includes many other examples of Mudéjar art. The Alcázar of Seville

2736-562: The Portuguese took over the Brazilian fashion of decorating the façades of their houses with azulejos . While these factories produces high-relief tiles in one or two colours, the Lisbon factories started using another method: the transfer-print method on blue-and-white or polychrome azulejos . In the last decades of the 19th century, the Lisbon factories started to use another type of transfer-printing: using creamware blanks. While these industrialized methods produced simple, stylized designs,

2808-427: The appearance of gold and other precious metals. Similarly to tile and stucco work, ceramic motifs included vegetal patterns, in addition to figurative motifs, calligraphy, and geometric patterns and images. There are also Christian influences in the imagery, such as boats, fern leaves, hearts, and castles. Mudéjar art has had modern revivals, the most important in Spain and Portugal being Neo-Mudéjar that appeared in

2880-444: The art of hand-painting tiles was not dead, as applied by Manuel Joaquim de Jesus and especially Luís Ferreira . Luis Ferreira was the director of the Lisbon factory Viúva Lamego and covered the whole façade of this factory with allegorical scenes. He produced panels, known as Ferreira das Tabuletas , with flower vases, trees, and allegorical figures, applying the trompe-l'œil technique. These hand-painted panels are fine examples of

2952-603: The artists to represent a much larger number of figurative themes in their compositions. The first Italian potter to move into Spain was Francisco Niculoso who settled in Seville in 1498. Examples of his work can still be admired in situ in the Alcazar of Seville. Under the influence of the Renaissance style introduced by Italians artists, most azulejos were polychrome tile panels depicting allegorical or mythological scenes , scenes from

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3024-568: The church exemplifying the transculturation found in Spanish architecture. Some other notable examples of Mudejar design in Hispanic America are: Mudejar artisans brought into the Christian kingdoms the elaborate geometric designs found in tilework , brickwork , wood carving , plasterwork , ceramics, and ornamental metals of Al-Andalus. Objects, as well as ceilings and walls, were often decorated with rich and complicated designs, as Mudéjar artists were not only interested in relaying wonder,

3096-449: The decoration of antependia (front of an altar ), imitating precious altar cloths, is typical for Portugal. The panel may be in one piece, or composed of two or three sections. They were used in the 16th, 17th and 18th centuries. Some antependia of the 17th century imitate oriental fabrics ( calico , chintz ). The golden fringes of the altar cloth were imitated by yellow motifs on the painted border tiles. Excellent examples can be found in

3168-504: The early 16th-century decoration of the Casa de Pilatos in Seville. This type of tile was produced well into the 17th century and was widely exported from Spain to other European countries and to the Spanish colonies in the Americas . The same techniques were introduced into Portugal by King Manuel I after a visit to Seville in 1503. They were applied on walls and used for paving floors, such as can be seen in several rooms, and especially

3240-613: The eclectic Romantic culture of the late 19th century. Mid-19th century, in England, in addition to encaustic tiles and mosaics, the Mintons factory also produced azulejos. At the start of the 20th century, Art Nouveau azulejos started to appear from artists such as Rafael Bordalo Pinheiro , Júlio César da Silva and José António Jorge Pinto . In 1885 Rafael Bordalo Pinheiro founded a ceramics factory in Caldas da Rainha , where he created many of

3312-521: The gothic Manueline style in Portugal, which was very lavish and ornate. Portuguese use of Mudéjar art developed particularly in the 15th and 16th centuries, and structures such as the Palace of the Counts of Basto and the Royal Palace feature characteristic wooden Mudéjar roofs that are also to be found in some churches in towns such as Sintra and Lisbon . Since trade was an essential part of Portugal's culture in

3384-454: The interior and exterior of churches , palaces , ordinary houses, schools, and nowadays, restaurants, bars and even railways or subway stations . They are an ornamental art form, but also had a specific functional capacity, like temperature control in homes. There is also a tradition of their production in former Portuguese and Spanish colonies in North America , South America ,

3456-399: The late 19th and early 20th centuries. It combined modern architecture and materials, including cast iron and glass with Mudéjar art styled arches, tiling, and brickwork. Some Spanish architectural firms have turned their attention to building projects in the modern Arabic-speaking world, specifically Morocco , Algeria , and Eastern Arabia , where Mudéjar art influences are commissioned as

3528-658: The lateral façade of the Carmo Church, and Eduardo Leite for his work on the Almas Chapel (imitating the style of the 18th century), both in Porto. 20th-century artists include Jorge Barradas , Carlos Botelho , Jorge Martins , Sá Nogueira , Menez and Paula Rego . Maria Keil designed the large abstract panels in the initial nineteen stations of the Lisbon Underground (between 1957 and 1972). Through these works she became

3600-522: The lives of saints or the Bible , or hunting scenes. Mannerism and the grotesque style, with its bizarre representations, had much influence on azulejos. Until the mid-16th century the Portuguese continued to rely on foreign imports, mostly from Spain, such as the Annunciation by Francisco Niculoso in Évora , but also on a smaller scale from Antwerp (Flanders), such as the two panels by Jan Bogaerts in

3672-413: The medieval Christian kingdoms depended upon whether the capture by Christians was accomplished through negotiated surrender or military defeat, the ratio of Muslim to Christian populations, the competing interests of the monarchy and the papacy, and economic exigencies. With a balance of these things, Mudejar art was born. As a result of this local variation, the Islamic influences that were absorbed into

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3744-478: The mixing of lead and tin for an opaque, shiny white glaze, and mixtures of metal oxides were applied to the glazed and fired surfaces to create lustre decoration. This technique was carried on from the Nasrid period. Typically, artisans would apply a layer of opaque white glaze before the colors. On top of the white, cobalt blue, green copper, and purple manganese oxides were used to make vibrant, shimmering surfaces with

3816-482: The north-eastern Christian Kingdom of Aragon in the 12th century and includes more than a hundred surviving examples, located predominantly in the valleys of the Ebro , Jalón and Jiloca . Its first manifestations have two origins: on the one hand, a palatial architecture linked to the Christian monarchy, which amended and extended the originally Moorish Aljafería Palace and maintained an Islamic ornamental tradition, and on

3888-461: The older Andalusi traditions. As wealthy Spaniards favoured the Mudéjar style to decorate their residences, the demand for mosaic tilework in this style increased beyond what tilemakers could produce, requiring them to consider new methods. Towards the late 15th and early 16th centuries Seville became an important production center for a type of tile known as cuenca ("hollow") or arista ("ridge"). In this technique, motifs were formed by pressing

3960-678: The other hand, a tradition that developed Romanesque architecture using brickwork rather than stone construction and which often displays Hispanic ornamental tracery. Examples of the latter type of Mudéjar elements can be seen in churches in Daroca , which were started in stone and finished off in the 13th century with Mudéjar brick panels. Portugal commissioned fewer Mudéjar decorated buildings, which generally incorporated simpler Mudéjar elements. The Church of Castro de Avelãs in Braganza features classic Mudéjar art brick work. Mudéjar also tended to be applied to

4032-573: The painter Francisco de Paula e Oliveira , became in this period an important manufacturer of the characteristic so-called Rato -tiles. Another important tile painter in this period was Francisco Jorge da Costa . With great Portuguese influence, the city of São Luís , in Maranhão , in Brazil, preserves the largest urban agglomeration of azulejos from the 18th and 19th centuries, throughout Latin America. In 1997,

4104-504: The pottery designs for which this city is known. In this factory he has his own a museum São Rafael devoted to his fantastically imaginative work, especially the decorative plates and his satirical stone figures, such as the Zé Povinho (a representation of the worrying common man). Around the 1930s, Art Deco -azulejos made their appearance with their principal artist António Costa. The monumental decorations, consisting of 20,000 azulejos, in

4176-429: The re-establishment of Christian rule throughout the formerly Muslim controlled areas of Iberia came the different Mudéjar construction methods for creating a building using inexpensive materials like brick, wood, and stucco. It is generally accepted by scholars that Mudéjar art in architecture first appeared in the northern town of Sahagún in the 12th century Christian Kingdom of León . Mudéjar spread to other parts of

4248-598: The rhythm of Islamic tradition, which plays an important role in chromatics. Mudéjar often makes use of girih geometric strapwork decoration, as used in Middle East architecture, where Maghreb buildings tended to use vegetal arabesques . Scholars have sometimes considered the geometric forms, both girih and the complex vaultings of muqarnas , as innovative, and arabesques as retardataire, but in Al-Andalus, both geometric and vegetal forms were freely used and combined. With

4320-479: The rule of Christian kings. The term likely originated as a taunt, as the word was usually applied to domesticated animals such as poultry. The term Mudéjar can also be translated from Arabic as "one permitted to remain", which references Christians allowing Muslims to remain in Christian Iberia. The concept "arte mudéjar" was coined and defined by the Spanish art historian José Amador de los Ríos y Serrano in his induction discourse El estilo mudéjar, en arquitectura at

4392-481: The second half of the 17th century, the Spanish artist Gabriel del Barco y Minusca introduced into Portugal the blue-and-white tiles from Delft in the Netherlands. The workshops of Jan van Oort and Willem van der Kloet in Amsterdam created large tile panels with historical scenes for their rich Portuguese clients, such as for the Palace of the Marqueses da Fronteira in Benfica , Lisbon. But when King Peter II stopped all imports of azulejos between 1687 and 1698,

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4464-451: The style of this period is also called the Joanine style. During this same period appear the first 'invitation figures' ( figura de convite ), invented by the Master PMP and produced in the 18th and 19th centuries. These are cut-out panels of azulejos with life-size figures (footmen, halberdiers , noblemen or elegantly dressed ladies), usually placed in entrances of palaces (see Palácio da Mitra ), patios and stair landings. Their purpose

4536-410: The tiles to be laid closer together with less grout, making the compositions more intricate and cohesive. Ceramics had been a sophisticated art form during the period of Islamic rule in the Iberian Peninsula and Mudéjar style ceramics were built on the techniques developed in the previous centuries of Islamic art. Pottery centers all over Spain - e.g. Paterna , Toledo , Seville - focused on making

4608-419: The underside of the supporting arches, which are carved with a vegetable motif based on the arabesque . San Miguel is a direct inheritor of the Mudéjar and tradition of the expansion and multiplication of an initial pattern. Around the octagonal dome, there are more wooden ceiling panels carved with the same pattern as the church's ceiling. Additionally, the white stucco walls demonstrate the Baroque influence on

4680-470: The vestibule of the São Bento railway station in Porto, created by Jorge Colaço , show in its historical themes the narrative style of the romantic 'picture-postcard'. This one of the most notable creations with azulejos of the 20th century. The façades of the churches of Santo Ildefonso and Congregados equally attest to the artistic mastery of Jorge Colaço. Other artists from this period include Mário Branco and Silvestre Silvestri , who decorated in 1912

4752-652: The works for the Metro stations. A new expansion, completed in 1988, featured works by more contemporary Portuguese artists: Rolando de Sá Nogueira in Laranjeiras, Júlio Pomar in Alto dos Moinhos, Manuel Cargaleiro in Colégio Militar/Luz , and Maria Helena Vieira da Silva in Cidade Universitária . Following on from this, many artists have been commissioned to decorate new and refurbished stations. Tiles are vulnerable to vandalism , neglect, and theft due to their prevalence and relative ease of access in historic and often decaying buildings across Portugal. In Lisbon, tiles can sometimes be found for sale in street fairs and

4824-401: The workshop of Gabriel del Barco took over the production. The last major production from Holland was delivered in 1715. Soon large, home-made blue-and-white figurative tiles, designed by academically trained Portuguese artists, became the dominant fashion, superseding the former taste for repeated patterns and abstract decoration. The late 17th and early 18th centuries became the 'Golden Age of

4896-407: Was an Italian named Francisco Xavier Fabri. Other examples of his work are located in nearby towns, most notably the Arco de Vila in Faro . Just west of this small town, in the vicinity of Estoi, is a ruined Roman villa of Milreu which provides a rare opportunity to see how Romans lived in the 1st-century-AD to the 4th-century-AD . The ruins reveal the characteristic form of a peristyle villa, with

4968-430: Was applied to Romanesque , Gothic and Renaissance architectural styles as constructive, ornamental and decorative motifs derived from those that had been brought to or developed in Al-Andalus . These motifs and techniques were also present in the art and crafts , especially Hispano-Moresque lustreware that was once widely exported across Europe from southern and eastern Spain at the time. The term Mudejar art

5040-430: Was built in the late 19th century and is the finest example of this kind of architecture in the district of Faro. In the centre of the town is the neoclassical Igreja Matriz de Estoi. An original church at the site dates to the 15th century, but it was significantly damaged following the 1755 earthquake. It would later be restored, and then in the 19th century it would be further updated in neoclassical style. The architect

5112-422: Was coined by the art historian José Amador de los Ríos y Serrano in reference to the Mudéjars , who played a leading role in introducing Islamic derived decorative elements into the Iberian Christian kingdoms. The Mudéjars were the Muslims who remained in the former areas of Al-Andalus after the Christian Reconquista in the Middle Ages and were allowed to practice their religion to a limited degree. Mudéjar art

5184-641: Was to welcome visitors. They can only be found in Portugal. In the 1740s the taste of Portuguese society changed from the monumental narrative panels to smaller and more delicately executed panels in Rococo style. These panels depict gallant and pastoral themes as they occur in the works of the French painter Antoine Watteau . Fine examples are the façade and the gardens of the Palace of the Dukes de Mesquitela in Carnide ( Lisbon ) and

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