67-448: Moledo is a village and a former civil parish in the municipality of Lourinhã , Lisbon District , Portugal. In 2013, the parish merged into the new parish São Bartolomeu dos Galegos e Moledo . It has retained its agricultural character, with agriculture remaining the main activity along with civil construction. Moledo was the only village in the civil parish. Moledo has a church as well as several windmills. The civil parish of Moledo
134-610: 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
201-410: 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,
268-625: 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
335-539: 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
402-470: A neighbourhood or city district, a group of hamlets, a village, a town or an entire city. In cases where the seat is itself divided into more than one parish, each one takes the name of a landmark within its area or of the patron saint from the usually coterminous Catholic parish ( paróquia in Portuguese). Be it a city district or village, the civil parish is often based on an ecclesiastical parish. Since
469-639: A participation rate of 72.91%. In 2009, there were 295 voters out of 394 registered, a participation rate of 74.87%. On 2 November 2012, the Portuguese state , through the Unit for the Technical Reorganization of the Territorial Administration, expressed the wish to reduce the number of civil parishes. For Moledo, the project is to merge with the civil parish of São Bartolomeu dos Galegos within
536-426: A plan to reform the administrative divisions, claiming it would create efficiencies and save money. The plan envisioned the reform of the management, territorial geography and political form of how Portugal functioned at the local level, including specifically at the freguesia and concelho levels. It was determined that these changes would then be formalized before the 2013 local government elections, as part of
603-409: A process to reduce expenditures, a condition of the $ 110 billion accord. In addition to the reduction of the number of representatives in the local boards, the plan also established criteria for the reduction, amalgamation or extinction of various civil parishes. The reform was implemented according to Law 11-A/2013 of 28 January 2013, which defined the reorganization of the civil parishes. This way,
670-538: 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
737-710: 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
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#1732891592424804-423: Is Algueirão - Mem Martins, with a population of 68,649 people and the least populous is Mosteiro, with a population of just nineteen people. A freguesia is a subdivision of a município (municipality), which is a cluster of freguesias , like a US county . Most often, a parish takes the name of its seat, which is usually the most important (or the single) human agglomeration within its area, which can be
871-647: Is also a tradition of their production in former Portuguese and Spanish colonies in North America , South America , 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
938-575: Is crossed by National Road 247–1, which connects the Portuguese expressway IP6 to Peniche and the A8 Motorway to Bombarral . A secondary road connects the center of the civil parish of Miragaia to Olho Marinho , via Cezaredas. The civil parish of Moledo has retained its rural character. It is the least developed and populated locality in the municipality of Lourinhã . Several houses are in ruins, and there are few new real estate constructions. In 2001,
1005-572: Is in the Central region , northwest of the country's capital, at the northwest end of its district. It is situated 84 kilometers north of Lisbon , 77.9 kilometers southwest of Leiria , and 9.9 kilometers northeast of Lourinhã . It is bordered by the Leiria District , with the parish of Olho Marinho belonging to the municipality of Óbidos . Moledo was bordered by the civil parishes of São Bartolomeu dos Galegos and Reguengo Grande. The civil parish
1072-476: Is similar to a freguesia . The average land area of a Portuguese parish is about 29.83 km (11.52 sq mi) and an average population of about 3,386 people. The largest parish by area is Alcácer do Sal (Santa Maria do Castelo e Santiago) e Santa Susana, with a land area of 888.35 km (342.99 sq mi), and the smallest parish by area is São Bartolomeu (Borba), with a land area of 0.208 km (0.080 sq mi). The most populous parish
1139-554: Is the priest, and it organizes several cultural and festive events, such as the feast in honor of Santo Antão on 17 January, São Sebastião on 20 January, Divino Espírito Santo on 4 June, as well as the annual fair on 6 June. The population is mainly specialized in agricultural exploitation and civil construction. The civil parish has a Catholic place of worship, the Church of the Divino Espírito Santo located on Santa Cruz Square in
1206-485: Is the third-level administrative subdivision of Portugal , as defined by the 1976 Constitution . It is also the designation for local government jurisdictions in the former Portuguese overseas territories of Cape Verde and Macau (until 2001). In the past, it was also an administrative division of the other Portuguese overseas territories. The parroquia in the Spanish autonomous communities of Galicia and Asturias
1273-814: 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
1340-561: 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
1407-476: The Arabic الزليج , al- zillīj ) is a form of Portuguese and Spanish painted tin-glazed ceramic tilework . Azulejos are found on 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
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#17328915924241474-611: 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
1541-756: 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
1608-561: 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
1675-792: 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
1742-656: The Portuguese Empire until its handover to China in 1999. During the period of Portuguese rule it was divided into two municipalities which were subdivided into a total of seven parishes. In 2001 the municipalities were dissolved and their administrative functions transferred to the Municipal Affairs Bureau . The parishes were legally retained but no longer serve an administrative function. Azulejo Azulejo ( Portuguese: [ɐzuˈle(j)ʒu, ɐzuˈlɐjʒu] , Spanish: [aθuˈlexo] ; from
1809-519: The União das Freguesias de São Bartolomeu dos Galegos e Moledo . The civil parish has a kindergarten and a nursery school. It also has a cemetery which is located on the territory of São Bartolomeu dos Galegos. The area of Moledo is 7.40 km2 with 472 inhabitants (2011), resulting in a population density of 64 inhabitants/km2. Moledo is the third least populated civil parish in the Lisbon District . In
1876-429: 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
1943-418: The municipal assembly . The parish, in contrast with the municipalities, had their base in the ecclesiastical divisions that "had its origin in the fact that neighbours professed the same religion and professed their faith and divinity in the same temple". Freguesia , the traditional Portuguese word for parish, had its beginning in the filius ecclesiae (child of the church) and filius gregis (child of
2010-460: The 16th century, leading to its disappearance in the 19th century. The monument to the fighters of the Overseas War was erected to pay homage to the soldiers who participated in the Portuguese colonial wars. It lists all the soldiers of the municipality of Lourinhã and was inaugurated on 23 January 2005. The washhouse , built in 1954 by the municipality of Lourinhã , is located at the exit of
2077-478: The 17th century, and in its center remains a tombstone dating from 1681. The calvary , "cruzeiro" in Portuguese, is located in front of the entrance to the Church of the Holy Spirit. The Royal Palace, or Palácio da Caça, was a building present in the civil parish. Inês de Castro is said to have lived there. She is said to have conversed with Peter I there several times. The palace was then abandoned as early as
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2144-502: 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
2211-465: 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),
2278-404: The 1960s, emigration abroad led to a decline in the population of the civil parish . Moledo had a population of 476 inhabitants in 2001, compared to 472 inhabitants in 2011. The civil parish of Moledo has an association dedicated to culture, leisure , and sports founded on 18 February 1983. It also has another association, the parish fabric association founded on 25 November 1940. The president
2345-663: The 2013 local government reforms, the 308 municipalities were subdivided into 4,259 civil parishes. In 2011, after more than two weeks of bailout negotiations in light of the sovereign debt crisis with the International Monetary Fund , the European Central Bank and the European Commission , the Portuguese government was obliged to reduce the number of municipal and parish local governments after July 2012. The government of Pedro Passos Coelho introduced
2412-604: 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
2479-615: 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
2546-484: 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
2613-575: 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 ,
2680-562: 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,
2747-444: 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
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2814-603: 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
2881-414: The center of Moledo. Built between the late 16th and early 17th centuries, it is dedicated to the Holy Spirit. It is a Renaissance-style building with a single nave and a porch on the façade. The year 1629 is inscribed on the bell tower, probably the year of completion of the church. Its ceiling is wooden covered with an arabesque fresco. The interior walls of the church are covered with Azulejos dating from
2948-412: The creation of a democratic local administration, in 1976, the Portuguese parishes have been ruled by a system composed by an executive body (the junta de freguesia , "parish board/council") and a deliberative body (the assembleia de freguesia , "parish assembly"). The members of the assembleia de freguesia are publicly elected every four years. The presidents of the parish boards are also members of
3015-449: 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
3082-504: 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
3149-613: 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
3216-658: 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
3283-522: 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
3350-459: The municipalities with the same name (except for Sé, which belongs to Funchal ). Of Cape Verde 's 22 municipalities , which form the highest level of sub-national government in the small African state, some but not all are subdivided into parishes. There are 32 parishes in the country. Macau is an autonomous special administrative region in Southern China that was historically a part of
3417-421: The municipality directly. Barcelos is the municipality with the most civil parishes (61, since 2013). Portugal has no unincorporated areas ; all the national territory (apart from the above-mentioned example of Corvo) belongs to a civil parish, including uninhabited islands: Selvagens Islands to Sé , and Berlengas to Peniche , Desertas Islands to Santa Cruz , and Formigas Islets to Vila do Porto , in
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#17328915924243484-459: The municipality of Óbidos and changed to that of Lourinhã after the administrative reform of 6 November 1836. Comprising only a single locality, the parish has Moledo as its chief town and is represented by the parish president, Alexandre Manuel de Jesus Maurício (PS). It is attached to the municipality of Lourinhã , represented by the president José Manuel Custódio (PS). In the local elections of 2005, there were 296 voters out of 406 registered,
3551-449: The number of parishes was reduced from 4,259 to 3,091. Municipalities in Portugal are usually divided into multiple freguesias , but seven municipalities are not: Alpiarça , Barrancos , Castanheira de Pera , Porto Santo , São Brás de Alportel and São João da Madeira all consist of a single civil parish, and Corvo is a special case of a municipality without civil parishes, where all usual parish duties and functions are performed by
3618-511: 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
3685-573: 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,
3752-525: The parish had 289 residences. The toponym Moledo comes from the topography of the terrain. The word means large stone, irregular stone, which corresponds to the characteristics of the local rock. The first populations settled in the Neolithic period . According to historians, it is in a palace in Moledo that Inês de Castro is said to have lived. She is said to have met Peter I there several times. The palace
3819-770: The parish, as is the water tower , built in the same year on the orders of Captain Simões Belo. The coat of arms has several meanings: The Portuguese Archaeologists' Association approved the elements of the coat of arms on 17 September 2002; they were registered by the General Directorate of Municipalities, No. 336/2002, on 20 November 2002, and officially published in the Diário da República, No. 261, III Series, on 12 November 2002. Freguesia (Portugal) Freguesia ( Portuguese pronunciation: [fɾɛɣɨˈzi.ɐ] ), usually translated as " parish " or "civil parish",
3886-504: 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
3953-402: The power of the clergy built these areas, accumulating immense wealth and power. The liberal government of Mouzinho da Silveira abolished the parishes in 1832, but the government of Manuel da Silva Passos restored them in 1836. The freguesia began to refer to the civil/administrative entity, while the paróquia ( Latin : parochia ) became affiliated with the religious entity. Before
4020-736: 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,
4087-403: The shepherds's flock), the collectivity of the religious faithful, with similar aspirations and interests. Between 1216 and 1223, Afonso II of Portugal began a process of legitimizing the Portuguese territory by conferring charters to nobles, clergy and municipal chambers (which would not be completed until after 1249, under Afonso III of Portugal ), making the parish the smallest division. But,
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#17328915924244154-451: 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
4221-470: 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
4288-652: 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
4355-401: 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
4422-403: Was abandoned as early as the 16th century, leading to its disappearance in the 19th century. On 12 October 1378, the king of that time, Ferdinand I , issued a letter of privileges, which is one of the first documents related to the history of Moledo. In 1594, the civil parish of Moledo left that of São Bartolomeu dos Galegos to become an independent civil parish . It administratively belonged to
4489-446: 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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