Misplaced Pages

#737262

93-617: The Portuguese crown jewels ( jóias da Coroa Portuguesa ), also known as the Royal Treasure ( Tesouro Real ), are the pieces of jewelry, regalia, and vestments that were used by the Kings and Queens of Portugal during the time of the Portuguese Monarchy . Over the nine centuries of Portuguese history , the Portuguese crown jewels have lost and gained many pieces. Most of the current set of

186-600: A gift from Spain in 1785, in honour of the royal wedding of the Prince John VI and Carlota Joaquina . Similarly, the as a reception room, and the workers tore up gold wallpaper and replaced the painted cornice with a real one. In the office adjacent to the Winter Garden , the walls were lined in pink velvet to house a collection from Saxony and the ceiling stucco was painted with representations of birds and views of Italy and Lisbon, by Giuseppe Cinatti and Achille Rambois, while

279-676: A monarch is disputed. The House of Aviz , known as the Joanine Dynasty , succeeded the House of Burgundy as the reigning house of the Kingdom of Portugal. The house was founded by John I of Portugal, who was the Grand Master of the Order of Aviz . When King John II of Portugal died without an heir, the throne of Portugal passed to his cousin, Manuel, Duke of Beja . When King Sebastian of Portugal died,

372-563: A new eastern façade, with a triangular apex and allegorical sculptures, alluding to the expulsion of the French during the Peninsular War, but the project was dropped. Between 1819 and 1920, sculptures of Justice and Prudence were completed by de Aguiar; the ceilings of the Archer's Hall and Cane Concierge's Hall by Taborda (1766–1836) were completed, its doors first started by Piolti (1770–1823);

465-411: A new project for the south and eastern façades was authorized, which included a system of ramps and staircases created by Rosa. Metalsmiths João Pereira and Manuel António, and carpenter José Joaquim de Sousa completed the project. On 27 July 1820, a meeting was held by the royal palace inspector, da Costa e Silva, Volkmar Machado, de Magalhães, Rosa and da Silva Gayão to decide upon the first design for

558-460: A new project. The Serviços dos Monumentos Nacionais ( National Monument Services ) branch examined the building to determine its condition (in 1956), which also predicted a large investment to completely restore the palace. After a period of restricted access (between 1940 and 1968), when only people who had an authorization card from the Direcção Geral da Fazenda Pública ( General Directorate of

651-569: A new rug, produced by the English firm Thomas Bontor & Company, which also produced new rugs for the Sala Chinesa ( Chinese Hall ); also, the older Sala de Bilhar ( Billiard Room ) was divided into two rooms: the Sala Chinesa ( Chinese Room ) and the Sala Império ( Imperial Hall ). These changes were primarily due to the increase use of the palace. In 1828 Miguel of Portugal was acclaimed by

744-409: A new set of Portuguese crown jewels made. Constructed by the royal jewelers at the workshop of António Gomes da Silva, the set most notably included a new crown and sceptre, among a plethora of jewelry pieces. The pieces from this era are the majority of the current set of jewels. When Maria Pia of Savoy became Queen Consort of Portugal , King Luís I ordered many pieces of jewelry to be made, as it

837-566: A painted ceiling covered in genies, sphinx and chimeras , on which were later applied agate and chalcedony stones (gifts from the Viceroy of Egypt) in addition to Portuguese marble. The Sala do Fumo ( Smoking Room ) was constructed in carved wood. The Sala Azul ( Blue Room ) was decorated tapestries found in the space (which were produced by the Real Fábrica de Santa Bárbara de Madrid with designs by Francisco de Goya ). These tapestries were

930-447: A similar number of windows on the upper floor have veranda-like railings, surmounted by smaller square windows. The three-storey towers are also divided by Tuscan and Tuscan-Ionic columns: the first floor, have three windows and sills with angular cornices on the outside and rounded cornices on the interior; the intermediary floor has a comparable number of windows, while the third floor windows are surmounted by smaller windows (much like on

1023-605: A single precious stone or gem – an oddity amongst European crowns of the time. The crown was made in 1817 for the acclamation of King João VI . It was created in the workshop of the Royal Jeweler, Dom António Gomes da Silva, in Rio de Janeiro . The Sceptre of the Armillary is the sceptre that was created for the acclamation of King João VI, in the workshop of the Royal Jeweler, Dom António Gomes da Silva, in Rio de Janeiro . The sceptre bears

SECTION 10

#1732856128738

1116-415: A two-three storey structure, on an inclined plot of land, with a façade of ashlar limestone. The main symmetrical façade is oriented towards the east, with a central body and tympanum , extending to two lateral towers. This façade is two floors high, the inferior level marked by three arches, surmounted by (and separated by) Tuscan-Ionian columns supporting the secondary floor/veranda. On the second floor of

1209-490: A vaulted edge supported by Tuscan columns, has twenty-two marble statues, some signed and dated. The vestibule is the main access to the palace, the Library and Exhibition Gallery, which by is made through the vestibule, through a monumental staircase and rounded arches. The ample courtyard is paved in Portuguese calçada, and is surrounded by two four-storey tall wings (north and south): the main floor, with central arch and doorway

1302-428: Is flanked by rectangular windows surmounted by smaller square windows; and the superior floors, are composed of veranda-windows with simple frames and cornices and balusters/guardrails. The interior is laid out with interconnecting halls, with a central corridor of staircases and elevators. On the main floor entrance hall, with a succession of the museum in lateral directions, there is a staircase beside two niches with

1395-635: Is located on a hilltop of the central part of the parish of Ajuda overlooking the historic centre of Lisbon and Tagus River , south of the Monsanto Forest Park . Its main access way is in the Largo da Ajuda on the eastern side of the property, but it is also transited by the Calçada do Mirante à Ajuda (north) and Rua dos Marcos (west). Although the palace occupies a block on the heights of Ajuda, its delineated space extends to several gardens and lands around

1488-457: The 5 October 1910 Revolution all work on the palace ceased and was closed, beginning a new phase of neglect that would later result in the flooding of the library by rainwater in 1925. In 1934, Duarte Pacheco commissioned Raul Lino to develop a plan to complete the building, which was deferred owing to the costs associated with the project. But the Republican government did inventory many of

1581-636: The Afonsine Dynasty , was the founding house of the Kingdom of Portugal. Prior to the independence of Portugal, the house ruled the feudal County of Portugal , of the Kingdom of Galicia . When Afonso Henriques declared the independence of Portugal, he turned the family from a comital house to a royal house which would rule Portugal for over two centuries. During the Reconquista , the Afonsine Dynasty expanded

1674-518: The Ambassador's Hall were executed by António Joaquim de Faria and the contractors Francisco de Paula, Severiano Henrique Pereira and Leandro Gomes. On 15 February, in the Sala dos Archeiros ( Archer's Hall ), the painters Vicente Paulo Rocha and João de Deus Moreira, painted the base boards, following the designs of Manuel Piolti (since José Francisco Ferreira quit the project). By May, Volkmar Machado proposed

1767-839: The House of Saxe-Coburg and Gotha ), came to rule in 1853. Portuguese law and custom treated them as members of the House of Braganza, though they were still Saxe-Coburg and Gotha dynasts. This has led some to classify these last four monarchs of Portugal as members of a new royal family, called the House of Braganza-Saxe-Coburg and Gotha , though this view is not widely held. 15 November 1477 – 28 August 1481 2nd: (3 years 9 months 13 days), full: 42 years 11 months 11 days 28 August 1481 – 25 October 1495 2°nd: (14 years 1 month 27 days), full: 14 years 2 months 1 day 26 May 1834 – 15 November 1853 2nd: (19 years 5 months 20 days), full: 21 years 7 months 10 days Ajuda National Palace Over time,

1860-522: The Miguelist branch of the house of Braganza became the pretenders to the throne of Portugal. They have all been acclaimed king of Portugal by their monarchist groups. The monarchs of Portugal all came from a single ancestor, Afonso I of Portugal , but direct lines have sometimes ended. This has led to a variety of royal houses coming to rule Portugal, though all having Portuguese royal lineage. These houses are: The Portuguese House of Burgundy , known as

1953-558: The Palace of Queluz at the time of Joseph's death, the Royal Barraca was vacated. In November 1794, during the reign of Maria I and the Prince Regent , the royal tent was destroyed by fire, although the fire-fighters were able to save the library and church. A more permanent dwelling was conceived by the architect José da Costa e Silva . Starting on 17 July 1795 the rubble and terrain

SECTION 20

#1732856128738

2046-721: The Portuguese Cortes in the Cortes Hall (today the Dining Room ). Miguel also inhabited the palace for six months as the royal residence, the Necessidades Palace , underwent remodelling. The move of the Royal Court to Queluz Palace in 1829, and the death of the architect Rosa, resulted in a slowing of the project, and the affected the north wing which fell into ruin. With the start of Liberal and Absolutist factionalism,

2139-611: The Ribeira Palace in Lisbon, the King ordered the construction of a more permanent wooden building in the heights of Alto da Ajuda; the architects Petrónio Mazzoni and Veríssimo Jorge began building an elaborate structure from wood collected from the Vale de Figueira pinery. The Real Barraca ( Royal Tent ), or Paço de Madeira ( Wooden Palace ) was completed on 20 September 1761 (and the first baptism

2232-504: The Sala do Despacho was completed by José Malhoa ; in 1891, a new marble floor for the Sala dos Embaixadores ( Ambassador's Hall ) commission by António Moreira Rato & sons was installed; After the death of her husband, Queen Maria Pia continued to live in the palace with her son, the Infante Afonso . Although King Carlos of Portugal began to reside in the Palace of Necessidades,

2325-478: The crown of Castile and waged wars in order to enforce their respective claims. Ferdinand I managed to be recognized as King of Galiza in 1369, although his dominance of the region was short-lived. When the House of Habsburg came into power, the kings of Spain , Naples , and Sicily also became kings of Portugal. The House of Braganza brought numerous titles to the Portuguese Crown some honorary, such as

2418-666: The masons Francisco António and Joaquim Baptista, who brought in stone from Monsanto (Idanha-a-Nova) , sand from Alfeite , calcium oxide cooked in Alcântara , tile from the Alhandra , with limestone provided from Pêro Pinheiro , Belas , Vila Chã and Monsanto . The intervention of many architects resulted in a royal decree (9 December 1801) that stated that alterations to the project could only be made in agreement with Manuel Caetano de Sousa, Joaquim de Oliveira, José da Costa e Silva and/or Francisco Xavier Fabri (as long as it economized on

2511-652: The Dragon is the sceptre that was created for the acclamation and use of Queen Maria II , in London , England . The sceptre bears many symbols pertaining to Portugal's new constitution, though Portugal would commence its War of the Two Brothers later the year the sceptre was created. The Mantle of Luís I is the royal robe that was fashioned for the acclamation of King Luís I. The mantle was fashioned in Portugal and bears many symbols of

2604-622: The Duke, are at the disposal of the Duke and Duchess . List of Portuguese monarchs This is a list of Portuguese monarchs who ruled from the establishment of the Kingdom of Portugal , in 1139, to the deposition of the Portuguese monarchy and creation of the Portuguese Republic with the 5 October 1910 revolution . Through the nearly 800 years in which Portugal was a monarchy, the kings held various other titles and pretensions . Two kings of Portugal, Ferdinand I and Afonso V , claimed

2697-490: The House of Braganza Foundation. The current Portuguese Royal Family has a set of jewels that can be divided into two sets. The first set are the jewels that Duarte Pio, Duke of Braganza inherited from his mother, Princess Maria Francisca de Orleães e Bragança , great-granddaughter of Emperor Pedro II of Brazil and great-great-granddaughter of King Pedro IV of Portugal . The second set are jewels that are owned by House of Braganza Foundation. These jewels, though not owned by

2790-510: The Kingdom of Portugal. Though originally made for Luís I, it was used by all the monarchs of Portugal afterwards. The Diadem of the Stars is a famous Portuguese diamond tiara. It was commissioned by the Consort of King Luís I , Queen Maria Pia of Savoy . The tiara is just a piece of a whole set of jewelry, famed for its precious diamonds and sapphires, commissioned by Maria Pia, famous for her love in

2883-668: The Kings of Portugal used to be anointed and crowned in the Jeronimos Monastery in Lisbon . In 1755 the Great Lisbon earthquake destroyed Lisbon and the Paço da Ribeira , the Portuguese royal residence of the time. With the destruction of the palace, innumerable pieces of the Portuguese crown jewels of the time were destroyed, lost, or stolen. While his court was in Rio de Janeiro , João VI had

Portuguese crown jewels - Misplaced Pages Continue

2976-572: The Parisian factory of the Duke d'Angoulême, for the Sala do Trono ( Throne Room ). Similarly, on the occasion of the King Edward VII's visit, he also ordered new chairs for Sala da Ceia ( Dining Room ). Manuel II remained in residence at the Palace of Necessidades following the death of the King and Crown Prince in the Lisbon Regicide , during the tumultuous years before the revolution. With

3069-459: The Portuguese crown jewels are from the reigns of King João VI and King Luís I . By the reign of King Manuel I (1495–1521), Portugal had already a lavish set of jewels, the king having been one of the most powerful men in the world at the time and having been known to show off. In early 1581 King António I fled to France after King Philip I was made the King of Portugal . António I took with him

3162-446: The Portuguese crown jewels have had a long history, wars, theft, and devastation have reduced the jewels mainly to those produced under the reigns of João VI and Luís I . The current set of crown jewels includes numerous pieces of jewelry, gold, gems, robes, and other regalia, but most notably: The Crown of João VI is an imperial format crown. A unique feature of the crown is that it is composed only of pure gold and red velvet, without

3255-491: The Portuguese crown jewels, including many valuable diamonds. Being well received by the French Queen Consort, Catherine de' Medici , he sold her some of the pieces of the Portuguese crown jewels in return for France 's support in his plans to reclaim the throne of Portugal and depose Philip I. After several failed attempts to reclaim the Portuguese Crown, António I fell into poverty. His poverty led him to sell many of

3348-461: The Treasury ), the palace was opened to the public on 20 August 1968. A new green-space was created to enhance the front (eastern) façade of the building in 1961, but in 1974 a fire destroyed a significant part of the north wing. Between 23 and 24 September the fire consumed King Luís' painting gallery and part of the north wing, which included 500 paintings, including a self-portrait by Rembrandt . It

3441-529: The acclamation of Philip II of Spain as Philip I of Portugal in 1580, officially recognized in 1581 by the Portuguese Cortes of Tomar . Philip I swore to rule Portugal as a kingdom separate from his Spanish domains, under the personal union known as the Iberian Union . The House of Braganza , also known as the Brigantine Dynasty , came to power in 1640, when John II, Duke of Braganza , claimed to be

3534-485: The architectural spectrum, but in which Neoclassicism predominated. When the palace finally became a permanent residence of the royal family during the reign of Luís I and his wife, Maria Pia of Savoy , their architect, Possidónio da Silva, introduced many aesthetic changes and turned one of the lateral façades into the main one. Most of the palace interiors were designed during King Luís I's reign by his wife, Queen Maria Pia and Possidónio da Silva. Maria Pia lived in

3627-601: The arts of fashion and jewelry. The Necklace of the Stars is a famous diamond necklace. It was commissioned by Queen Maria Pia of Savoy , the Consort of King Luís I . The necklace is a piece the set of jewelry commissioned by the queen, which includes the famed Diadem of the Stars, the counterpart of the necklace. When the Portuguese First Republic was proclaimed, the Portuguese Royal family went into exile. Only having an extremely short time to pack up and go,

3720-507: The attribution of the title of Rex Fidelissimus (His Most Faithful Majesty), and royal titles, such as King of Brazil and then de jure Emperor of Brazil . After the demise of the Portuguese monarchy, in 1910, Portugal almost restored its monarchy in a revolution known as the Monarchy of the North , though the attempted restoration only lasted a month before destruction. With Manuel II's death,

3813-455: The city of Faenza ); in 1865, the execution of the sculpture by Odoardo Fantacchiotti (1809–1877); Maria Pia solicited Possidónio da Silva to substitute the painting in the ceiling of the Sala de Música ( Music Room ), the allegorical scene painted by José da Cunha Taborda and Arcangelo Fuschini , was substituted by one commissioned by Felisberto António Botelho; the Sala Azul ( Blue Room )

Portuguese crown jewels - Misplaced Pages Continue

3906-467: The country entered into a period of fragile stability, and the project, already moving slowly, stopped in 1833 with the entry of liberal forces in Lisbon. With the restored Liberal regime, Peter IV took over as Regent until his daughter 's age of majority, swearing allegiance to the Constitutional Charter in the throne room on 30 August 1834. Peter attempted to complete the palace, under

3999-404: The country southwards until the definitive conquest of Algarve with Sancho II and the establishment of the Kingdom of Algarve , in 1249 , under Afonso III . When Ferdinand I died, a succession crisis occurred between 1383 and 1385. Ferdinand's daughter Beatrice of Portugal was proclaimed queen and her husband John I of Castile proclaimed king by the right of his wife . Her legitimacy as

4092-560: The day of the 1755 Lisbon earthquake , the royal family was in Belém, and escaped the destruction of Lisbon by the earthquake and tsunami. Perturbed by the events, King Joseph refused to live under a residence of masonry, and took refuge in a wooden cabin next to the Palace of the Counts of Óbidos (packed with tapestries from the Quinta de Baixo ). As the royal family continued to fear for the viability of

4185-475: The eastern façade the main entrance and erecting a tower at the southern end. Its plan now reduced in half, it included one block, the construction of which was immediately interrupted by the Liberal victory in 1833. In 1827, Piolti died, leaving behind the decorative painter António Inácio Vieira in charge of the interior design. Work on site began, and quickly ended in 1828, by the English mason John Johnston. He

4278-478: The eastern façade, or a new composition by Volkmar Machado. During these meetings the project for the vestibule was approved; the decoration of the Sala da Tocha ( Torch Room ), its access ramps and staircase; and the painting designs for the rooms by Piolti, which were executed by Anacleto José Narciso, Eugénio Joaquim Álvares, Eusébio de Oliveira, João de Deus, José António Narciso, José Tomás and Vicente Paulo. By 1821, when John VI of Portugal returned from Brazil,

4371-445: The end of the 19th century, new exterior restorations had begun, under the direction of Domingos Parente da Silva, while new additions continued within the interior: in 1875, a sculpture of Maria Pia was completed by Cesare Sighinolfi; in 1876, a painting in miniature of Luís and Maria Pia by Michele Gordigiani ; in 1879, a new parquet floor in the Sala do Archeiros ( Archer's Hall ) and the Sala do Porteiro da Cana by Mardel Magalhães

4464-519: The execution of the sculpture Leda by Cesare Sighinolfi ; a painting of the King was also completed by the painter António Rodrigues da Silva; in 1870, Maria Pia mascarada by Joseph Layraud ; in 1873, work on the parquet floor in the Sala Azul ( Blue Room ) by Joseph Godefroy; in 1874, paintings of the Princes Carlos and Afonso in the Sala Rosa ( Pink Room ) were completed by Joseph Layraud. By

4557-447: The existing space to a permanent royal family residence: the windows in the antechamber of the Sala do Despacho were completed by Paul Sormani; new lace draperies from Switzerland were hung in the windows; the Quarto de D. Luís ( D. Luís Room ) was partitioned, with a lowered ceiling, and used as an office space with washroom; the Sala de Trabalho do Rei ( King's Study ) was decorated with

4650-511: The family brought only a fraction of the personal jewels they owned. The jewels that were left and were private possession to the family, not the official crown jewels, were given to House of Braganza Foundation. Many years after her exile, Queen Amélie of Orléans sold some of her jewels, such as her famous ruby and diamond tiara to American socialite, Barbara Hutton. The remainder of her jewels were either left to members of her family in France, or to

4743-412: The figures of Justiça and Prudência , which access the Sala dos Archeiros ( Archers Hall ) completed by Joaquim Machado de Castro and his disciples. On this floor, in a linear path, the visitor follows through the following chambers and halls: During State functions or celebrations, invited guests would enter via the vestibule and ascend the main staircase to the second floor of the Palace by way of

SECTION 50

#1732856128738

4836-724: The furniture and artwork, and along with many of artefacts from other palaces, stored them in the Ajuda Palace. In 1938 the palace was opened as a museum, and in 1954 the Casa Forte ( Vault ) was opened in order to exhibit the Portuguese Crown Jewels and silverware of the Royal Household. Another attempt to renovate the palace was proposed in 1944, in a new project by Raul Lino, but never materialized, and in 1956, Arantes e Oliveira commissioned Raul Lino, once again to elaborate

4929-400: The furniture was selected by Krieger, Suc. Racault of Paris. The Sala Verde ( Green Room ) received new ceiling stucco with bas-relief ornamentation and gold-leaf. Renovations also proceeded in the palace chapel, Queen's washroom and dining room by Leandro Braga, who was also assisted by Atelier responsible for the King's painting studio and personal library. It was during this remodelling that

5022-703: The installations of the Instituto de Museus e Conservação ( Institute of Museums and Conservation ), the Instituto de Gestão do Património Arquitectónico e Arqueológico ( Institute for Architectural Management and Archaeological Heritage ), part of the Secretaria-Geral do Ministério da Cultura ( General Secretariat of the Ministry of Culture ), the Ajuda Library and a gallery for temporary exhibits. The building evolved to

5115-556: The interior layout. In 1814, Cyrillo painted the Sala do Dossel . In April 1815, the quarry of Lameiras was appointed to extract rock for the columns of the main floor. Manuel Caetano da Silva Gaião joined the project in 1815 to assist the team. In 1817, Francisco Fabri died, and was replaced by his assistant, António Francisco Rosa, who was forced by the Royal Treasury to curb the scope of the project. Several individual projects were completed in 1818: Domingos Sequeira returned to direct

5208-459: The main body, the space is protected by balusters protecting the three Roman arch-windows, surmounted by a frieze of garlands, and divided by six Tuscan-Ionic columns. Between the central body and towers are eight panels consisting of two-floors and a mezzanine, each panel divided by two orders of columns: on the first floor Tuscan and on the second floor Tuscan-Ionic columns. The first floor windows are moulded and trimmed sills with cornices, while

5301-498: The main building. This includes: the Jardim das Damas ( Lady's Garden ) fronting the northern façade of the Palace; the Sala da Física ( Physics Hall ), in the north-eastern corner fronting the palace; the clock-tower, also known as the Torre do Galo ( Rooster's Tower ), isolated in front of the palace; and the larger Jardim Botânico ( Botanical Garden ), southwest and across the street from

5394-438: The metal shields on the doors were provided by the Army arsenal; the ceiling of the Hall of Spanish Tapestries by Volkmar Machado, with perspectives by Piolti, figures by Joaquim Gregório da Silva Rato and ornamentation by André Monteiro da Cruz; skirting by bronzer and gilder Pierre-Philippe Thomire (1751–1843); the ceiling of the antechamber of the Sala do Despacho ( Order Room ) was completed by da Cruz and Taborda. In 1820,

5487-417: The museum and Dutch authorities, the Dutch government paid a sum of six million euros to the Portuguese government for reparation. The Portuguese crown jewels are currently kept at the Ajuda National Palace , in Lisbon . While the palace is a popular and important museum, the crown jewels were not on view to the public until the completion of the new wing of the Ajuda National Palace Museum in 2022. Though

5580-444: The painting Chegada de D. João VI , in the ballroom by the artist Fuschini disappeared. In the meantime, on 28 September 1863, the Infante Carlos (later King Carlos of Portugal ) was born in the Sala Verde ( Green Room ). Other additions to the palace followed in subsequent years: in 1863, a bust of Maria Pia was executed by Santo Varni ; an inlaid table was completed by Focentino Eugenio Azgnani (a wedding gift to Maria Pia, from

5673-407: The painting of the palace; the model for the south tower, authored by José Joaquim de Sousa was completed; on 26 September the vaulted ceiling was erected in the vestibule; and on 12 November, the decorative works in the Sala dos Embaixadores ( Ambassador's Hall ) were cleaned by contractors Severiano Henrique Pereira and Francisco de Paula. King John VI , still in Brazil, began to show interest in

SECTION 60

#1732856128738

5766-426: The palace (although residence of the Queen Mother) was reserved for official ceremonies, including banquets and receptions, such as those in honour of Edward VII of the United Kingdom of Great Britain and Ireland , Alfonso XIII of Spain, Wilhelm II , German Emperor and President Emile Loubet of France. Carlos made few changes to the palace, although he was responsible for ordering two large pots in Berlin from

5859-478: The palace from the day she became queen of Portugal , in 1862, until the republican revolution in 1910, when the royal family was forced into exile. In 1726, King John V of Portugal acquired three estates in the parish of Belém: one became the Belém Palace ; on the second parcel an oratory, which was eventually expanded, becoming the Necessidades Palace ; and the third reserved for a summer residence that never materialized during his reign. On 1 November 1755,

5952-616: The palace had not yet been completed, and only permitted some state and ceremonial protocols (such as John's investiture in the Order of the Garter in 1823). Consequently, John VI decided to live in the Bemposta Palace . With a new simplification of the plans, architect António Francisco Rosa continued the structural works. During this phase, painters Taborda, Sebastião José Alves, José Joaquim de Sousa, Bernardino de Sena Lemos da Rocha, Arcangelo Fuschini, Máximo Paulino dos Reis, Joaquim Gregório da Silva Rato, Piolti, João Pereira, José Pedro de Carvalho, and mason António Joaquim de Faria worked at

6045-425: The palace. One of the earliest neoclassical buildings in Lisbon, the palace is an irregular rectangular building, divided into four wings (with the western wing being incomplete) around a large quadrangle, paved with Portuguese calçada in geometric designs. Each wing is occupied by distinct entities: the eastern and southern wings are occupied by museum exhibitions of the Palace of Ajuda; the northern wing belongs to

6138-415: The palace. In 1823, the staircase was decorated by painter Norberto José Ribeiro, and in 1825 Joaquim Rafael became head painter. The palace began to be used as a royal residence in 1826, when the Infanta Isabel Maria , Regent on behalf of the young Queen Maria II , moved in. It was proposed to the architects that the project's scale be reduced, encompassing only one-third of the original design, making

6231-405: The panels). The southern lateral façade has three storeys, with 19 windows in succession, comparable to the main entrance, although there are a series of niches at the base. The uncompleted western façade show signs of vestiges of various dependencies with a wall of open window sills/arches with Tuscan pillars and access to the central courtyard by three rounded arches. Embedded in the vast foyer with

6324-637: The project costs). But, Manuel Caetano de Sousa designed an overcomplicated and intricate Baroque building (which was later criticized by da Costa e Silva and Fabri in 1801). But, with mounting confusion and difficulties between the architects and contractors, on 21 January 1802, da Costa e Silva and Fabri were invited by the Crown to present a new project, in conjunction with António Francisco Rosa and Manuel Joaquim de Sousa, while excluding Manuel Caetano de Sousa. In 1802 Manuel Caetano de Sousa died, and by 26 June, da Costa e Silva and Fabri were appointed official architects. Da Costa e Silva and Fabri respected what

6417-411: The project underwent several periods when the construction was stopped or slowed due to financial constraints or political conflicts. When the royal family had to flee to Brazil (in 1807), following the invasion of Portugal by French troops, the work proceeded very slowly with Fabri taking charge of the project, later followed by António Francisco Rosa . Lack of financial resources would also result in

6510-418: The project, and presented the designs to his local architects Auguste-Henri-Victor Grandjean de Montigny and João da Silva Moniz. When António Francisco Rosa took over the work in 1818, the project progressed at a slightly accelerated pace, on the assumption that the royal family would return. But, the Cortes were insecure about the expenses in completed Ajuda. On 11 January 1819, ten new flourishments in

6603-585: The project, since José da Costa e Silva had also joined the royal family in Brazil. Fabri's model was based on the Palace of Caserta in Naples, designed by Luigi Vanvitelli . He envisioned an ample palace design, directed South, towards the Tagus River , with four main towers at its angles: the works restarted in 1813. In 1814 and 1815 work progressed in the rooms and staircases that were completed, with Taborda, Fuschini, Calisto, Cirilo Volkmar Machado (and his assistant Oliveira Góis), and Máximo Paulino dos Reis as painters, while decorator Manuel Piolti took over

6696-635: The property, accompanied by Joaquim Gregório da Silva Rato, Manuel Prieto, José da Cunha Taborda , Fuschini and Calisto, while Italian decorators Manuel da Costa and Giuseppe Viale were hired to decorate the mansion. Similarly, sculptors Joaquim Machado de Castro (who created three sculptures), Carlo Amatucci (some), João José de Aguiar, and his assistant Gregório Viegas (executed ten statues), Joaquim José de Barros Laborão and Manuel Joaquim Laborão (completed six statues), while Faustino José Rodrigues and his son, Francisco Assis Rodrigues, were contracted to complete three sculptures. In 1803, Carlos Amatucci completed

6789-592: The remaining diamonds. The last and finest diamond of the Portuguese crown jewels, the Sancy , would be acquired by Nicolas de Harlay, seigneur de Sancy , from whom it would make its way to Maximilien de Béthune, duc de Sully . From Maximilien, the diamond would finally go to join the French crown jewels . During the Portuguese Restoration War , João II of Braganza sold many of the Portuguese crown jewels to finance

6882-428: The revised plan of Joaquim Possidónio Narciso da Silva, but was unsuccessful. Yet, some projects continued inside the building: in 1836, the antechamber of the Sala do Despacho with scenes of Diana by André Monteiro da Cruz was completed; in 1837, several paintings were repaired by Joaquim Rafael; in 1844, busts of the monarchs in wax were ordered, by Joaquim Rafael; and the sculpture of Inocência by Benedetto Delisi

6975-478: The rightful heir of the defunct House of Aviz, as he was the great-great-grandson of King Manuel I. John was proclaimed King John IV, and he deposed the House of Habsburg in 1640 during the Portuguese Restoration War . The Habsburgs continued to claim the throne of Portugal until the end of the war in the Treaty of Lisbon (1668) . The descendants of Queen Maria II and her consort, King Ferdinand II (a German prince of

7068-407: The same time, a match was made between Luís and Maria Pia of Savoy , daughter of King Victor Emmanuel II of Italy, who were married in 1861; on 16 April 1862, the new King and his wife, moved into the palace transforming it into the formal royal residence. In order to become liveable, the King directed Possidónio da Silva and Costa Sequeira to renovate and remodel the building, primarily based on

7161-405: The scaling down of the project. The construction of the Ajuda Palace, which began in 1796 and lasted until the late 19th century, was a project plagued by various political, economic and artistic/architectural problems. It was invaded by Napoleon's troops in 1807, and discontinued by Liberal forces who imposed a constitutional monarchy that reduced the power of the royal family. Artistically, it

7254-444: The sculpture of Liberdade . By 1807, the painters, sculptors and decorators had been contracted, but the arrival of Jean-Andoche Junot 's forces immediately stopped the build as the royal family fled to Brazil ( Rio de Janeiro ). Yet, Junot insisted that the building should continue. But in 1809, the French invasion of the Portuguese territory finally caused the suspension of the project. By 1812, Francisco Fabri returned to chef

7347-574: The symbols of the United Kingdom of Portugal, Brazil and the Algarves , Portugal's designation during João VI's stay in Brazil . The Mantle of João VI is the royal robe that was fashioned for the acclamation of King João VI. The mantle was fashioned in Portugal, even though João VI's court was in Brazil. The royal robe bears many symbols of the Kingdom of Portugal and was only used by João VI. The Sceptre of

7440-516: The tastes of the Queen. The old Sala do Dossel , the audience hall, was renamed the Sala das Tapeçarias Espanholas , because of the Spanish three crystal chandeliers were installed in the hall on the occasion of the marriage of Luís and Maria Pia of Savoy . An interior vestibule was transformed into a Winter Garden ( Portuguese : Jardim de Inverno ). Possidónio da Silva also covered the ceiling murals with

7533-513: The throne passed to his Grand-uncle, Henry of Portugal (he might be called Henry II because Henry, Count of Portugal , father of Alphonso I of Portugal , was the first of that name to rule Portugal). When Henry died, a succession crisis occurred and António, Prior of Crato , was proclaimed António of Portugal. The House of Habsburg , known as the Philippine dynasty , was the house that ruled Portugal from 1581 to 1640. The dynasty began with

7626-551: The uncompleted wings and the extension of the gardens to the Jardim das Damas ( Lady's Garden ). The plan would also include the construction of two residential zones nearby that would cover 75% of the work. On 26 May 1992 the palace was assigned to the Portuguese Institute of Architectural Heritage , under Decree-Law 120/92. The palace's bibliothèque is the namesake for the Cancioneiro da Ajuda . The Ajuda National Palace

7719-523: The war with Spain. When João II became King of Portugal as João IV and deposed the Philippine Dynasty in 1640, he placed his crown with a statue of Our Lady of Immaculate Conception and said that she was the "true Queen of Portugal". Since then, Portuguese monarchs did not have a coronation but instead an acclamation . Before the assumption of the Portuguese throne by the Philippine Dynasty,

7812-635: Was a convergence of the Baroque styles from the Palace of Mafra , very connected to regal authority, with the birth of the Neoclassic style from Italy. Further interruptions occurred, due to a lack of funds, political sanctions or disconnection between the workers and the authorities responsible for the project. The project was modified several times, but was generally authored by Manuel Caetano de Sousa (the last Baroque architect) and, later, Costa e Silva and Fabri, both of them Bolognese architects whose tastes crossed

7905-617: Was a passion of his wife. Alongside this, he had a new royal mantle produced. When the Portuguese Royal Family was exiled , many of the jewels were taken with Queen Amélie of Orléans and Queen Mother Maria Pia of Savoy on their respective exiles. In 2002 a large part of the Portuguese crown jewels were stolen from the Museon in The Hague , where they were on loan for an exhibition on European crown jewels. Following an investigation by

7998-543: Was already constructed, but introduced necessary alterations to change the royal palace into a more dignified, serious and majestic building. Consequently, the plan was simplified and reduced to a core structured around two courtyards, with the same level of ornamentation, but now much more refined. On 2 July 1802, the monarch solicited the Marquis of Alorna to study the future paintings that would occupy its walls. Domingos Sequeira and Vieira Portuense were contracted to paint

8091-412: Was begun; a painting of a canvas representing Umberto I of Italy by A. Jangiovanni was also installed in the same year; in 1881, the sculpture O Saltimbanco by Simões de Almeida was executed; in 1886, the a sculpture of Victor Emmanuel II , by Joaquim Santos ; in 1887, paintings over the doors of the Queen's vanity by Ernesto Condeixa ; in 1890, the portrait of Infante Carlos for the ante-chamber of

8184-408: Was cleared, which continued on 27 July under the direction of António Vicente. The first cornerstone was laid on 9 November under the direction of Manuel Caetano de Sousa (with a secondary project under the supervision of German Xavier de Magalhães). It was conceived as a Baroque -late Rococo building, but the construction was interrupted shortly after. As of 19 May 1796 the project was supplied by

8277-400: Was executed in 1860. Following the tragic deaths of members of the royal family in 1861 from typhoid fever , there were many who counselled King Luís to abandon the Palace of Necessidades. After being acclaimed king (22 December 1861), Luís moved temporarily with to the Palace of Paço de Arcos, while remodelling occurred at Ajuda to adapt the building to become the new royal residence. At

8370-436: Was held in its chapel), but, owing to risk of collapse, the theatre (which was considered a risk by architect Giovanni Carlo Galli-Bibiena ) was reconstructed from 1767 to 1786 by Giacomo Azzolini. The court remained at this site for nearly three decades, in a luxurious atmosphere of the golden age of enlightened despotism, until the King's death in 1777. Since his successor, Queen Maria I of Portugal lived with Peter III in

8463-542: Was lined in silk; in 1866, a marble statue, Tangedoura do Pandeiro was completed by Giovanni Dupré (1817–1882); in 1867, the parquet floor in the Sala do Despacho and Sala dos Contadores was completed by Godefroy, a joiner in the Belgian Royal House; the execution of the sculpture Mulher com bilha à cabeça by Célestin Anatole Calmels ; the execution of a bust of King Luís I, also by Anatole Calmels; in 1869,

8556-453: Was partially transformed into a museum in 1968, and served as the headquarters of the Ministry of Culture ( Portuguese : Ministério da Cultura ), IPPAR and IPM. In 1989, the president of the IPPC, invited civil engineer Garcia Lamas and architect Gonçalo Byrne to elaborate a project to finish the palace. The designers created two maquettes and various plans, which envisioned the completion of

8649-431: Was responsible for the English staircase , but was mysteriously removed from the project to be replaced by Nicolau Pires. In 1830, António Joaquim de Faria, responsible for many of the stonework within the palace, also died. Similarly, three years later, Sebastião José Alves died, being succeeded by Joaquim José Ventura Alves. During the second half of the 19th century, new works in the palace were specifically done to adapt

#737262