Fado and saudade are the two most difficult words to translate from Portuguese, if not impossible. But perhaps we can make it easier to understand if we say that fado is related with destiny and saudade with nostalgia and sadness caused by the absence of something in time or in space.
These definitions of such complex feelings are the most common topics in fado, the music that is sung accompanied by a classical guitar and a Portuguese guitar and that in November 2011 was inscribed by UNESCO on the list of Intangible Cultural Heritage of Humanity.
With an obscure origin, but surely resultant from the crossing and fusion of different cultures, fado has become not only the sonority of Lisbon, but fundamentally the feel of the city.
There are countless fados that celebrate the city of the seven hills. Although unknown when exactly, it was here that fado was born and it was from here that it went on to spread across the country and later, across the world.
Explore the culture and traditions of Portuguese fado music by joining a fado singer in the traditional neighbourhoods of Lisbon.
Fado, an Anthem to Sentiment and to the City
Street art in Severa Square, Mouraria
It is generally known for being an anthem of melancholy, fatalism, sadness, tragedy, grief, resignation, betrayal, jealousy and all kinds of negative and self-destructive feelings, as these are many times present in the poems, in the sonority of the guitars and in the aching voices of the fado singers.
But you’re wrong to think that fado is just mourning. This peculiar music also celebrates life, joy, love, fight and resistance… in truth, it reflects in a strong and passionate way every feeling that is part of life.
The life in the city of Lisbon, its losses mourned for and its exalted beauty or peculiarity, are and will always be deeply connected with the Tagus river.
The river is celebrated with a certain nostalgia through the old fragatas (a typical boat of the Tagus River) and the fishwives. The destruction of Mourariabut also the magnificent views of the countless viewpoints, the picturesque funiculars and trams and the traditional tiles are some ways in which the city is celebrated.
This way fado, a cultural and urban phenomenon started by spreading the culture of Lisbon and, later on, the Portuguese culture in general.
Origins and the Development
The mural Fado Vadio, in Escadinhas de São Cristóvão, Mouraria
Despite the unknown popular origin of fado, we can say it was born in the mid-19th century. At that time it was sung by sailors but by the end of the century it was sung in the palaces of Lisbon, but always having a bad reputation.
For instance, the famous love affair between the oldest and mythical singer Maria Severa, a prostitute in Mouraria that tragically died at the age of 26 in 1846, and the Count of Vimioso that would take her to sing in his palace in Santana Hill.
Fado was the form of expression of the popular neighbourhoods, the music of the docks and of the most obscure alleys with dubious or simply poor people. Fado vadio (directly translated to vagabond fado) was sung freely without any professional character.
With time it gained structure. The music acquired a melodic richness, and the artistic quality of its interpretation increased. Not only that, but in addition to the popular poetry, more complex verses by both old and contemporary erudite authors were introduced to fado.
In the first half of the 20th century the fadistas (fado singers) left the traditional neighbourhoods and gained protagonism in teatro de revista (a type of multi-act popular theatrical entertainment that combines music, dance, and sketches), film industry and radio. Plus, they recorded albums, increasing their commercial promotion and professionalism.
Loved by everyone, locals or foreigners, it is a national musical expression par excellence. In Fado Museumit is represented and interpreted in other art forms, from paintings from consecrated authors to contemporary sculpture, and from motifs in the Portuguese pavement to street art murals…
‘Retratos do fado – a Tribute to Mouraria’, a Camilla Watson projecton
By singing, the fadista is talking to himself as if he was praying, and paradoxically, sharing his feelings with the world.
Even the listeners who don’t understand the words of his poems, take in the emotions in the notes of the guitars and in the voices of the fadistas. When there’s empathy and the souls speak to each other, fado happens!
This is a cultural expression with more and more interpreters and styles that is alive and that we could not and must not leave out.
Note: Original article published on 27 November 2019.
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In this article about urban art tributes to personalities in Lisbon, we bring you art pieces that highlight people and/or events that deserve to be well-known.
Urban art, like other artistic expressions, is often a way of manifesting dissatisfaction towards issues that affect us as a society or problems that affect us globally.
It’s in this art that we also witness tributes to national and foreign individuals who, in some way, have excelled in different areas or who have contributed with their effort and dedication to a better world.
Without further due, let’s get to know some of the urban art tributes to personalities that we can find in the city of Lisbon.
Salgueiro Maia
Captain Salgueiro Maia (1944-1992) is one of the prominent figures of the April 25, 1974 Revolution that liberated Portugal from the harsh dictatorial regime. This personality was the protagonist of the mural, located on the exterior of the Faculty of Social Sciences and Humanities at NOVA School of Social Sciences, in Berna Avenue, and continues to be so in the current reinterpreted version.
The April 25th mural by Frederico Draw, Gonçalo Ribeiro, Add Fuel, and Miguel Januário, Berna Avenue, 2014.
In 2014, commemorating the 40th anniversary of the Carnation Revolution, a mural was created by a collective from the Underdogs platform, involving four male urban artists. The goal was to showcase their interpretations of April 25th and how this event, which they did not experience, influenced their lives.
Frederico Draw portrayed Salgueiro Maia, inspired by the image captured by photojournalist Alfredo Cunha on the decisive day of the revolution in Carmo Square.
Gonçalo Ribeiro aka Mar took charge of the background supporting the Captain, drawing the raised fists of the people with the colours that make up the Portuguese flag.
The patterns that filled the captain’s guns and uniform were created by Add Fuel, who has accustomed us to his reinterpretations of Portuguese tilework.
On each side of the mural, there was a symbolic piece by Miguel Januário. The left one referred to pre-April 25th, the shield surrounded by bones and chains. The right side showed a heart and two G3 rifles, with a Latin inscription meaning “Either we find a way, or we make one,” urging the need for change.
The April 25th mural by Tamara Alves, Sara Fonseca da Graça, MOAMI, and Mariana Malhão, Berna Avenue, 2023.
In 2023, on November 8th, the painting that replaced the previous one, which was already degraded, was inaugurated. The initiative took place as part of the celebrations of the 50 years of April 25th and the 45th anniversary of the Faculty, once again organised by the Underdogs platform, and this time by a female collective of four artists: Tamara Alves, Sara Fonseca da Graça aka Petra Preta, MOAMI, and Mariana Malhão. The goal is to introduce a new perspective on this significant event, highlighting the role of women.
Alfredo Cunha’s photograph is once again used as inspiration for the realistic portrait of Salgueiro Maia, drawn by Tamara Alves.
Sara Fonseca da Graça, in turn, wanted to highlight the figure of women, the female protagonists of the liberation movements of the former Portuguese colonies who also played a fundamental role.
The unmistakable patterns and graphic elements in the background of this panel reveal the authorship of the multifaceted MOAMI. Her touching, motivating, and global art here has the unifying mission of connecting brotherly peoples bound by a common past.
The white silhouettes created by Margarida Malhão symbolise “the strength of the united people.” It can be read in the curatorial text: “Hand in hand, diverse layers of Portuguese society fought and celebrated the transition from decades of oppression to freedom. The carnation symbolises the idea of breaking free, and the raised arms personify collective identity as a transformative force.”
Raoni Metuktire
Raoni Metuktire’s portrait by Kobra, in Marvila
Raoni Metuktire (1932) is the personality that the Brazilian creator Kobra brought to MURO | Festival of Urban Art Lx 2017, in Quinta do Marquês de Abrantes in Marvila.
Learn more about the Festival and other artworks of this parish in Urban Art of Marvila.
This portrait of the Brazilian indigenous leader, from the Kayapo people, is part of “Etnias – Todos Somos Um” (Ethnicities – We Are All One) by Kobra. A project that aims to draw attention to the fight against the invasion of the Amazon, which the representative of the indigenous peoples has been waging and to the importance of preserving their peoples and the forest, this being a global responsibility and not only of Brazil.
Nuno Teotónio Pereira and José Cardoso Pires
Tributes to the architect Nuno Teotónio Pereira by João Samina and to the writer José Cardoso Pires by SKRAN, in Alvalade Market
In the parking lot of the Alvalade Market there are two urban art tributes to personalities, initiatives by the City Council of Lisbon and the Civil Parish of Alvalade.
They were two outstanding figures in different domains, but both were residents in this parish of Lisbon.
The tribute to the architect Nuno Teotónio Pereira (1922-2016) is from 2017. An important figure in his field, having received numerous awards, including the Valmor Prizes (a prize established in 1898 according to the testament left by the 2nd Viscount of Valmor to reward the architectural quality of the new buildings built in the city of Lisbon) from: 1967 with the Housing Tower in Olivais Norte; 1971 with Franjinhas Building, in Rua Braamcamp; and from 1975 with the project of the Sagrado Coração de Jesus Church, in Rua Camilo Castelo Branco.
João Samina portrayed Nuno Teotónio Pereira on a background of geometric shapes in gray, black and red colours, a very characteristic combination of this Portuguese creator.
In 2018, SKRAN immortalised José Cardoso Pires in one of the walls next to the market, for the 2nd edition of Alvalade Capital da Leitura, in which the life and work of the writer were highlighted.
He’s considered one of the greatest Portuguese writers of the 20th century, being “O Delfim” from 1968 one of his masterpieces.
Nelson Mandela
Mural Nelson Mandela by Nuno Saraiva in Rua João Soares
In 2018, as part of the tribute of the City Council of Lisbon to Nelson Mandela (1918-2013), a painting by the Portuguese illustrator Nuno Saraiva was made in collaboration with several other artists.
This artwork located in Rua João Soares, in Campo Grande, evokes the centenary of the birth of the South African historical leader and Nobel Peace Prize winner. But it also brings back the memories of the years of 1987 and 1989 for reflection. Dates in which, respectively, Portugal voted at the UN against the resolution for the unconditional release of Nelson Mandela and the resolution on child victims of apartheid in South Africa.
Mandela’s phrase “Education is the most powerful weapon that can be used to change the world” can also be read, emphasising the importance of widespread access to education, which unfortunately still needs to be reinforced…
Marielle Franco
Mural Marielle Franco by Vhils in Panorâmico de Monsanto Viewpoint
Brazilian activist Marielle Franco, a human rights defender and city councilor in the city of Rio de Janeiro, was brutally murdered in March 2018.
In the edition of that same year of the Iminente Festival that took place at Panorâmico de Monsanto Viewpoint, the emblematic Portuguese artist Vhils joined the project Brave Walls of Amnesty International. He sculpted Marielle Franco’s face in one of the walls, highlighting the value of those who take on the mission of fighting for causes, in the name of all.
Amália e Celeste Rodrigues
Amália Rodrigues by SMILE and Celeste Rodrigues by Styler in Quinta da Cabrinha
Two famous fado performers have been present since August 2019 on the side of buildings of Quinta da Cabrinha in Alcântara.
It is the notable figure of Amália Rodrigues(1920-1999), by SMILE and her younger sister Celeste Rodrigues (1923-2018), portrayed by Styler.
In the same place, a Portuguese guitar by 2CarryOn and another piece alluding to fado by the Spanish graffiter Werens can also be observed.
Personalities of Benfica Neighbourhood
Mural of Personalities of Benfica Neighbourhood by Tomás Reis, Edis One and Pariz One in Rua das Garridas
Contrary to what we’ve seen so far, the mural located in Rua das Garridas, in the Civil Parish of Benfica portrays not only one personality but rather a set of public figures, whose lives are connected in some way to this neighbourhood.
The initiative came from the Civil Parish that carried out a poll on social media with a list of 24 personalities in order to elect 15. Among the elected are writers, sportsmen, actors, musicians, comedians, and others…
From left to right we have: Carlos Paredes; João Lobo Antunes; António Lobo Antunes; José Águas; Ana Bacalhau; Nuno Markl; Lena D’Água; Madalena Iglésias; Padre Álvaro Proença; Beatriz Costa; António Livramento; Francisco Lázaro; Vasco Santana; Ruy de Carvalho and António Feio.
This mural inaugurated in May 2020 has drawings by the illustrator Tomás Reis, which were transformed into graffiti by the urban artists Edis One and Pariz One, also residents of Benfica.
With this itinerary of the urban art tributes to personalities in Lisbon we wanted to draw your attention to a type of tribute that is certainly ephemeral, but also striking and different from the traditional.
Note: Original article published on 11 November 2020.
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Did you know there’s mathematics in Campo Grande Garden? References that bring us to this science are spread across this entire area, but few know of its existence.
During our search about the public art of Campo Grande Garden we noticed, among others, board games, playground and historic marks related to maths, which caught our attention…
Games and References Related to Mathematics in Campo Grande Garden
This initiative to evoke the mathematical knowledge resulted in the collaboration between the Portuguese Mathematical Society and the City Council of Lisbon, at the time of the requalification of the Campo Grande Garden between 2013 and 2018.
Let’s find out what and where they are… by starting our route in the north zone of the Garden.
Board Games in Garden Benches
Board Games in Garden Benches
At the back of the Caleidoscópio Building there are four benches with eight boards from four different games.
The rules are explained in the plaque next to each board, where there’s also a short description about the history of the respective games:
Alquerque: “… it can be considered a former version of the game Draughts. It’s a very old game with written references that date back to the 10th century. The first set of rules, even though not completely specified, emerged in the 13th century in the “Livro de Jogos” (“Book of Games”) of the King Afonso [of Castile], the Wise.”
Hex: “… it was independently invented by two mathematicians: the Danish Piet Hein in 1942 and the American (winner of the Nobel Prize in Economic Sciences) John Nash in 1948. The game has strong connections to a few well-known mathematical theorems. It can also be mathematically proved that there can’t be ties in this game.”
Mancala: “The games, generically designated by Mancala, are a set of approximately 200 different games, among them the well-known Ouri. This family of games is really old and its origin is uncertain, possibly African.”
Nine men’s morris: “… is a very old game. It was really popular in medieval Europe, but there are much older references, such as in “The Art of Love” by Ovid [(43 BC – 17 oru 18 AD)]. This game is an ancestor of the Noughts and Crosses game.”
To play these games you simply need to gather on the floor the necessary stones. 🙂
They evoke the centenarian tradition of board games in the daily life of the Lisbon locals. The many boards engraved in stone that can be found in the historic areas of the city are proof of that.
Ames Room
Ames Room
The following reference to mathematics in Campo Grande Garden is called Ames Room. It is located on the east side, in the same direction of the Casa do Lago.
The Ames Room was created in 1946 by Adelbert Ames, Jr., a North American ophthalmologist that based himself on theories developed by the German doctor, mathematician and physicist Hermann von Helmholtz.
Its purpose is for the observer to experience optical illusions. In this case the observer takes a look from the outside to the inside through a small hole that is on the wall on the right side.
At the same time, two people must enter and stand one on the left corner and one on the right corner of the wall opposite to the observer. The result is a sensation of a big discrepancy of size between the two people.
In truth, the structure of this Room isn’t as regular as it seems. If we observe it with attention, we notice that it has a trapezoidal shape with a checkered and sloped floor, characteristics that contribute to the optical illusion.
However, a lack of civility unfortunately left this Room vandalised and with no hygienic conditions for people to have this interesting experience.
The Seven Bridges of Königsberg
The Seven Bridges of Könisberg
We’re now moving to the south side of the Garden. Over the lake we can find a set of wooden bridges that at first glance may seem just a playful structure.
But it is a well-known mathematical problem called “The Seven Bridges of Könisberg”. This city of the former Prussia had a peculiar characteristic, the existence of seven bridges that connected four parcels of land.
One day a mathematical problem emerged: would it be possible to leave a starting point and return to it, by crossing all the seven bridges, but without crossing each more than once?
It was the mathematician Leonhard Euler that in 1736 reached the conclusion that there was no solution. From this study originated the graph theory, a branch of mathematics that studies the relations between objects.
Euler to address the Königsberg problem, used a simplified representation scheme:
Representation of the Seven Bridges of Königsberg; Euler’s simplified scheme
After taking an attentive look we realised that the Seven Bridges of Königsberg of Campo Grande Garden are a fusion of the initial scheme with the simplified version of Euler.
It conjugates the green spaces around the lake (ground) with the wooden bridges and its intersections (the lines and dots of the simplified scheme), resulting in a creative solution that is well integrated in the space. ☺
Poliedric Playground Climbing Net
Poliedric climbing net
It’s also possible to find the presence of mathematical knowledge in a climbing net for children.
This quadrangular pyramid, i.e. polyhedron, refers to geometry, a branch of mathematics that studies issues related to shape, size, relative position between figures or properties of space.
Loxodrome of Pedro Nunes
Representation of the Loxodrome of Pedro Nunes
Continuing on southwards, a large metal sphere appears before us. It is a representation of the Loxodrome of Pedro Nunes, a Portuguese mathematician of the 16th century, a time when mathematical knowledge was crucial for the navigators.
Pedro Nunes found that a ship on a constant course that crosses all meridians of longitude at the same angle, makes up a spiral line. He called it the Rhumb Line, which later became known as Loxodrome.
With this piece we’ve reached the extreme south but the references to mathematics in Campo Grande Garden are not over yet.
Historical Landmarks of Mathematics
Historical landmark of mathematics
Along the pavement on the west side all the way to the northern top of the Garden, about 100 metal plates that record historical landmarks of mathematics can be observed on the ground.
The first one goes back to the 20th century BC and in the plate we can read: “In Babylon, a sexagesimal system is used”. The last one refers to 2007 with the landmark: “A team of researchers in North America and Europe describe a gigantic structure known as E8 using computer networks”.
We’ve reached the end of this peculiar route about mathematics in Campo Grande Garden that in a fun way reminded us about the constant presence of this science around us.
We hope to have given you a good grasp of everything, as some of these references lack an explanation.
If you like challenges, test your intuition in the Detective game “Escape Hunt” by solving enigmas against the clock.
Curious fact
On the west side of the Brazilian city of Rio de Janeiro there is a populous neighborhood called Campo Grande, an area of large orange production in the first half of the 20th century. In this neighbourhood several monuments were put up to mark this important period in its history. One of which is a sphere made up of an orange spiral band that represents the orange peel when it’s cut. A curious coincidence with the representation of the Loxodrome of Pedro Nunes in Lisbon, in a place also called Campo Grande, which in turn is crossed by Brasil Avenue, but that is over 7000km away. 😉
Note: Original article published on 21 October 2020.
The project getLISBON has been very rewarding and we want to continue revealing the singularities of fascinating Lisbon. Help us keep this project alive!
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We know that the oldest neighbourhood of Lisbon isAlfama, but the heart of the city is indisputably the Pombaline Downtown. This and its surrounding area is the place of choice of the visitors, an open air shopping centre for the locals and the meeting point for everyone.
But these rigorously drawn streets are the result of an enormous catastrophe. If it weren’t for the devastation caused by the violent earthquake of 1755, this place would surely be different.
Saying Lisbon
before and post-earthquake is the same as saying Lisbon before and post-Pombal.
The earthquake brought with it, in a violent and implacable way, the
destruction of the city. After that Pombal, with these same characteristics,
gave way to its reconstruction.
It’s about the
reconstruction of the city that we’re talking about today.
The
designation of Pombaline Downtown exists on the one hand because the earthquake
was particularly devastating in the low area of the city and, on the other
hand, because its reconstruction was dreamt of, promoted and oriented by the
minister of the kingdom, Marquis of Pombal.
Before the
tragic earthquake existed already two important squares in the low area of the
city: Rossio and Terreiro do Paço. Let’s find out more about each
of them.
Rossio
Rossio, D. Pedro IV Square
Rossio corresponded
to a large area of land where the streams of Valverde and of Arroios once
flowed to the river. With time, the streams ended up being submerged, becoming
subterranean.
This was the
visiting room of the city before the earthquake. There existed three notable
buildings: the Convent and Church of São Domingos, of the 13th century; the
All Saints Royal Hospital built between 1492 and 1504; and the Estaus Palace, a
palace of the 15th century destined to host the state visits and illustrious foreigners
that in 1584 was transformed into the Court of the Inquisition.
With the
earthquake, Rossio saw destroyed the convent and the church, from which
only remained the sacristy and the main altar. The church was reopened only in
1834 after its reconstruction led by the architect Carlos Mardel.
The hospital which, shortly before, had been renovated due to a terrible fire, collapsed almost entirely, remaining only a small wing in operation due to desperate need. Its service was then transferred to the Colégio de Santo Antão, home of Jesuits, giving rise to the current hospital of São José in Santana Hill.
The Estaus Palace didn’t survive either. In 1773 was erected a new palace, also work of Carlos Mardel, for the Inquisition again, which was extinguished in 1820. In 1836, at the time, the Palace of the Treasure suffered a terrible fire, being completely demolished to give place to a new project, the D. Maria II National Theatre.
With the demolishment of the hospital and the new alignment of the urbanistic option adopted, the Pombaline Downtown brought us Rossio with a more regular rectangular shape and a new square next to it, the Figueira Square.
Terreiro do
Paço
Postcard illustrating the Comércio Square, place of the former Terreiro do Paço. Image courtesy by the collector Luís Bayó Veiga
This was the centre of the power from 1511, the year in which King Manuel I transferred the Royal Palace from the São Jorge Castle to the waterfront. Since then, the large square was called Terreiro do Paço and the palace, Ribeira Palace.
Having begun
to be built in 1498 in the heart of the centre of the economic activity in
strong ascension, this palace contributed to the process of centralisation of
the power. In Ribeira the king could control maritime and commercial
activity effectively.
During the
reign of Filipe I, the palace was renovated, taking on a classic Mannerist
grandiosity. It gained more floors, grandeur and the famous turret of the
Bolognese architect Filipe Terzi (1520-1597).
It collapsed during the earthquake of 1755, and with it we lost valuable works of art, documents, part of the history of Portugal and the history of Lisbon …
The
reconstruction plan of the Downtown kept this large and symbolic square. From
the authorship of Eugénio dos Santos (1711-1760), the typology of the buildings
doesn’t differ a lot from the sobriety of the mannerist palace, and is now
based on symmetry with the introduction of another turret to the east and the
opening of the north front with the direct connection to Rossio.
The buildings
were destined to the Stock Exchange of Commerce, Customs, Courts, Ministries
and services related to the administration of the Government and thus, Terreiro
do Paço started being called Comércio Square.
The reconstruction of the square didn’t include the edification of a new royal palace. It was provisionally installed in a wood construction, the Royal Hut, that later gave place to the Royal Palace of Ajuda in the zone of West Lisbon.
The figure of
the monarch remained present, exalted symbolically through the equestrian
statue of King José, carefully aligned with Rua Augusta, by the sculptor
Machado de Castro (1731-1822).
Between Rossio and the Comércio Square
Pombaline Downtown map, around 1786
This space is
composed by a network of parallel and perpendicular streets with different
categories of importance.
The central
axis is the majestic Rua Augusta that starts in the triumphal arch of
the Comércio Square and that guides us to Rossio. Its most important parallel streets are:
To the west, the Rua Áureaor Rua do Ouro, which refers to the most important craftsmen, those who worked the precious metal and the watchmakers, and which also links the Comércio Square to Rossio;
To the east, the Rua Bela da Rainha, today Rua da Prata that connects the Comércio Square to the Fiqueira Square;
Still to the east, the Rua Nova da Princesa, today Rua dos Fanqueiros, connects the Rua da Alfândega to Fiqueira Square.
Between these
streets, other three less important ones dedicated to the craftsmen that don’t
reach the Comércio Square are: Rua dos Sapateiros to the west and
Rua dos Correeiros as well as Rua dos Douradores to the east.
This
hierarchy of the streets is present in their width and in the typology of the
simpler window stone frames. The choice of simpler lines and uniformity allowed
building them in a fast and economic way.
Pombaline Downtown, corner of Rua dos Correeiros (left) and Rua da Vitória (right). A closer look shows that the window frames differ according to the importance of the streets
The
transversal streets were given religious names related to old churches and
parishes. In the descending direction: Santa
Justa; Vitória; São Nicolau; Assunção; Conceição; São Julião and finally
the exception, Rua Nova d’El Rei, today Rua do Comércio.
Pombaline Downtown, Rossio. The buildings are separated by fire-resistant walls that can be observed at the level of the roofs
The
reconstruction of the Pombaline Downtown counted with a team led by the
engineer of the kingdom Manuel da Maia, of which the architects Eugénio dos
Santos and Carlos Mardel were part.
From a
pragmatic and innovative perspective, the builders of the new city implemented
measures to mitigate damage in the event of a new catastrophe and introduced
new techniques when it comes to infrastructure.
Systematical adoption of the famous structure gaiola (“cage”), a process with anti-seismic characteristics previously tested;
Use of fire-resistant walls between the buildings;
Functional use of tiles indoors, a type of covering that allows better hygiene and is an anti-fire protection;
Large streets;
Construction of elevated sidewalks exclusively for pedestrians;
Creation of a domestic sewage system that reflected the concern with sanitation.
The Mark of
Marquis of Pombal
Pombaline Downtown, Rua Augusta
The image of Sebastião
José de Carvalho e Melo, since July 1759, Marquis of Pombal, will always be
associated to the reconstruction of the Pombaline Downtown. The iron hand that
took control and that dared to dream and build a new city. A personality that
is still controversial today, but that marked not only the city of Lisbon, but
also the entire country, making the whole society to make a leap towards
modernity according to the vision of the Reformist Enlightenment.
Some authors
defend the connection between Marquis of Pombal and the Freemasonry and make a
symbolic reading of the new urbanism. According to them the conception of the
Pombaline Downtown was based on classical esoteric concepts, aiming to attract
divine energy and protection. Among other characteristics, they interpret the Rua
Augusta as the meeting axis and the fusion of two primordial forces. On the
west side, the Rua do Ouro represents the masculine, solar, hot and
active energy and on the east side, the Rua da Prata the feminine,
lunar, cold and passive energy…
The old toponymy is still present in some streets of the Pombaline Downtown. Rua da Prata was once Rua Bela da Rainha
The Pombaline
Downtown, Reflection of the Reformist Enlightenment
Less
controversial is the relation between this new urbanism and the Enlightenment
ideology, characterised by the abandonment of the baroque aesthetic and the
adoption of classic, austere and rational lines, conditioned by the needs of
speed of construction and economy of resources.
The new
urbanism also reflects the social reform of the Lights defended and put into
practice by the minister of King José. The downtown is then a commercial space,
where churches are “tidy” in the new organisation and where there are
no palaces, reflection of the submission of the clergy and the removal of the
nobility of power, giving rise to a greater influence of the bourgeoisie.
The Nossa Senhora da Oliveira Church is an extreme example of an insertion of a space of cult in a common building of the Pombaline Downtown.
Occupation
and Transformation of the Space
Over time, some buildings in Pombaline Downtown have received new decorations
Perhaps the
memories of such hard times led the Pombaline Downtown to never actually be
occupied for habitation by the population. After all, modern houses equipped
with tiled kitchens, stairs and communal areas that, in addition to avoiding
the propagation of fires, maintained everything hygienic, did not captivate the
upper classes of the people of Lisbon. Perhaps on the one hand the place was
still very connected with the tragedy and on the other hand, the uniformity and
simplicity of the buildings didn’t meet the taste of the upper classes.
The ground
floors were occupied by shops while the first and second floors were occupied
by warehouses and industry workshops related to these shops.
One of the
main characteristics of the buildings of the downtown was its uniformity that
has been fading over time.
In a first
phase was added another floor to the buildings that thus, generally, started
having 4 floors rather than 3.
Later some Pombaline buildings façades were covered with tiles
In the end of
the 19th century, beginning of the 20th century, the taste and the desire
to differentiate themselves led some owners to cover the façades with tiles and
to decorate the frames of the windows.
Also from
this period are some buildings built from scratch, which exhibit façades of
eclectic taste, in general very ornate, that despite contradicting the
Pombaline aesthetics do not destroy the whole, often going unfairly unnoticed.
Despite the changes inherent in the passage of time, Pombaline Downtown retains its original character, and its peculiar monumentality.
Note: Original article published on 7 November 2018.
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When strolling around the streets of the capital, everywhere we go we can find representations of a boat with two birds facing each other. This is the symbol of the city of Lisbon – a small boat with two crows – the main element of the city’s heraldic representation.
When thinking of boats we immediately associate them with the river that surrounds Lisbon and the sea that connects it to the world.
The relationship between the city and the Tagus River is strong. If the river didn’t exist, the city of Lisbon probably wouldn’t either. Its strategic location as well as its subsistence were determined by this almost sea-like river from the beginning.
But is the boat the representation of this strong connection?
To a certain extent, yes. The intention of the first King of Portugal, Afonso Henriques, of conquering the coastal territory is linked to this. But the first reason for the boat to be the symbol of the city of Lisbon is related to an event full of meaning that can quickly be told.
Vincent, the Iberian Martyr
Statue of Saint Vincent, in Portas do Sol Viewpoint
It was the year 304 when under Roman rule, the deacon of the Church of Saragossa was martyred and his body left for birds and other animals to eat.
It is said that, because he was guarded by an angel, the animals (including crows) abstained from eating it, leaving no choice but to release his mortal remains in the sea. It then reached the coast in Valencia and was taken by the Christians. This way, martyr Vincent, author of miracles and marvels known all throughout Iberia, started being venerated.
When in 711 the muslims invaded the peninsula, the Christian guardians of the martyr transported and buried his body in a place they thought was safe, the Promontory of the Ravens (later on Cape of Saint Vincent), the westernmost point of the Algarve.
It stayed there until 1176, the year in which King Afonso Henriques ordered that his remains were removed from the still Moorish territory, and transported by sea to the city of Lisbon, which had been conquered in the year 1147.
Once again the crows were protagonists, as it is said that these birds followed the boat along during its journey to Lisbon.
Since then that Saint Vincent is the city’s patron along with the beloved Saint Anthony, another symbol of the city of Lisbon.
Afonso Henriques and the Conquest of Lisbon
Lisbon Cathedral
Does the transference of the relics of the saint correspond to a strong devotion of Afonso Henriques himself and to his willingness to bring them to Lisbon? Not really.
The king’s intention was to legitimate the desired conquest of the entire coastal territory by possessing these adored relics and to place them in Coimbra or Braga.
However, the unfolding of events and the population of Lisbon determined a different desire.
The conquest of Lisbon led by the first king wasn’t really free of blood, looting and suffering.
In truth, the chronicles of the conquerors describing the first years of the city’s occupation are even omitted. This fact on its own reveals the lack of pride and will to report what happened in reality. However, this can be known through the written records of foreigners who witnessed the events.
For the conquest to become peaceful and accepted, it needed to be consolidated with relevant cultural aspects. The old cult of Saint Vincent was the first step to solve the problem.
However, when the Mozarabs of Lisbon (the Christian population that lived integrated in the Muslim society) found out the secret location of his mortal remains, they demanded for them to stay in Lisbon.
Afonso Henriques was left with no choice but to give in and order built the Lisbon Cathedral as a worthy place for the holy relics, thus giving the conquerors the legitimacy they needed.
Six years later, in 1179, was granted a foral (a royal document whose purpose was to establish a council and regulate its administration, borders and privileges) to the city, officialising its refoundation.
The Small Boat with the Crows, Symbol of the City of Lisbon
Illuminated manuscript of the Livro Carmesim from 1502 and the coat of arms in the pediment of the City Council’s façade
The adoption of the small boat with the crows as the symbol of the city of Lisbon has thus already been explained, but there are other curious facts related to its story.
This image was and has been present in the patrimony and urban equipment of the council for centuries.
It was carved in stone landmarks placed in the city boundaries so that those who’d enter the city, would know they were under the jurisdiction of the council from then on. Similarly, the representation of the small boat carved in stone was also present in immovable assets, such as drinking fountains or buildings, indicating that they belong to the city.
The boat with the crows is also present in the movable patrimony of the council, as we can see in Livro Carmesim from 1502 that belongs to the Lisbon Municipal Archive. In an illuminated manuscript, the boat that transports Saint Vincent escorted by two black birds makes it clear that this precious book, as well as the information contained in it, belong to the city.
This specific representation is of such high importance that we can find the exact same one carved in the coat of arms of the pediment of the City Council’s façade, which is many centuries younger. The same image is also present in the Portuguese pavement that surrounds the statue that honours Marquês de Pombal in the Square named after him.
The Old Drinking Fountains and the Symbol of the City of Lisbon
Variation of the symbol of the city of Lisbon
But then, when was the official image that we find today in the coat of arms of the municipality officially instituted and spread, in different supports and styles, all over the city?
Surprisingly, the current representation that is most familiar to the people of Lisbon is similar to the oldest ones.
The images of a small boat sculpted in the Drinking Fountain of Andaluz (near Marquês de Pombal Square) and in the Drinking Fountain of Dentro (Alfama) are perhaps the oldest and the closest ones to the current representation. They’re both quite similar and probably from the same time, since they both feature the coat of arms of King Afonso IV.
In the late 1930s the revision and establishing the flags and the coats of arms of the Portuguese cities was carried out. As a result, the combining of these two images was officially adopted to represent the city of Lisbon.
The symbol of the city of Lisbon in the Drinking Fountain of Andaluz and Drinking Fountain of Dentro
It’s for this reason that when we observe these simple lined boats guarded by two crows facing each other, we feel it’s a familiar and… strangely modern design!
Note: Original article published on 11 September 2019.
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In September the party isn’t over in Lisbon, this time in Carnide! Get to know the tradition of the Festivities and the amazing patrimony of the Church of Our Lady of Light.
You have a month to enjoy the centenarian fair, to choose the music concert that you like the most and to, without fail, discover the secret that the Church of Our Lady of Light keeps.
But first let’s learn a little about the origins of Carnide, the Church and the festivities associated with this place of ancient pilgrimages and miracles.
Carnide, a Bread Producer and Place of Miraculous Cures
The occupation of the northern boundary of the city of Lisbon predates the Romanization. It corresponded to a particularly fertile area that allowed feeding bread to the population of a vast territory and still daily supply of fresh the city of Lisbon.
It was organized in small dispersed villages and in large farms.
Carnide is one of these settlements, located in North Lisbon, that until 1885 belonged to the extinct City Hall of Belém.
Coat of arms of the extinct Belém Municipality in Largo da Luz
This area was very sought for treatment and recovery of patients. Members of the nobility and even the kings Afonso V and João II were treated here. In times of famine, epidemics or to convalesce from war campaigns, the nobility would take refugee here in their farms next to the Serra da Luz and to the miraculous water fountain that was said to have the gift of curing skin and eye maladies.
The village was developed along an axis, still very evident, that linked two fundamental places: On one side the parochial Church of São Lourenço of the 14th century, very transformed but still existent, in the western limit of the historic nucleus of Carnide; on the opposite side the Machada or Machado Fountain that was already mentioned in the 13th century, which was located exactly where today is the Church of Our Lady of Light.
We suggest you visit the historic nucleus of Carnide and admire one of the Bandstands of Lisbon.
Next to the Church existed a leprosarium and a small church dedicated to the Holy Spirit whose worship attracted many pilgrims from the area, but also from afar. The sailors and fishermen had a particular devotion, and in 1437 they took the initiative to carry out a procession every year.
The Cult and Legend of the Our Lady of Light
The cult of Our Lady of Light begun in the year of 1463.
It is said that Pêro Martins, a local from Carnide recruited to fight in North Africa, was held captive there. Our Lady appeared and promised to save him. Having returned to his homeland, the devotee soldier saw the Virgin again surrounded by light next to the miraculous water fountain and there began the construction of a new small church dedicated to the Our Lady of Light. One year later after its edification began the pilgrimage that since then takes place in the end of summer and that culminates with a procession.
An inscription outside the church reveals the story of the captivity of Pêro Martins and his vision of the Lady whom he called of the Light.
This venture was supported by important figures of the nobility and even members of the royal family who throughout the ages have been participating in religious festivities and events.
Soon the cult of the Our Lady of Light overcame that of the Holy Spirit. And in 1918 the centenarian headquarter of the parish of Carnide even moved from the old Church of São Lourenço to the Church of Our Lady of Light.
Secret Patrimony in the Church of Our Lady of Light
What is left of the small church of the 15th century in Gothic style, built by Pêro Martins, is one of the secrets of the city of Lisbon.
Those who visit the present church today do not know that it is still possible to observe, at a lower level, what remains of the vestibule of the primitive fonte de mergulho (diving fountain) and some magnificent Hispanic-Arab tiles of aresta and majolica that, it can be said that miraculously survived the vicissitudes of time.
Gothic portal and composition made with Hispano-Arabic tiles resulting from restoration.
These vestiges alone justify a visit to the Church of Our Lady of Light. Go to the secretariat inside the church and ask to see the place of these precious things.
Architectural Patrimony: Old Hospital of Luz and Church of Our Lady of Light
In the 16th century the Infanta Maria, (1521/1577) daughter of the King Manuel I, left in testament revenue and goods to build a large hospital and a new church, which she chose as the place to be buried, in the place of the leprosarium and the old small church of the Holy Spirit.
In a second inscription is revealed to us the intention of Infanta Maria of building a new church in praise of Our Lady of Light.
The old Hospital of Luz was thus inaugurated in 1618 after the death of the Infanta, to support the pilgrims and the sick who came to this place. We speak of the great three-storey building with a classic façade whose central body is topped by a triangular pediment, current facilities of the Colégio Militar.
As for the Church, it is the one that today is in the place dedicated to Our Lady of Light. Noteworthy work projected by Jerónimo de Roão in 1575 but completed already during the Philippine dynasty.
It is a large Mannerist building of Italian influence with a sober façade rebuilt in the 19th century. We highlight the interior where a large altarpiece, painted in 1590 by Francisco Venegas and Diogo Teixeira, and the flat grave of the Infanta Maria await us.
The earthquake of 1755 damaged most part of the building, having its rebuilding and restoration of the interior taken place between 1870 and 1890.
Also notice the existing sidewalk work the traditional Portuguese limestone pavement on the churchyard, it is without doubt a magnificent example of this original Portuguese art.
A Fair and Religious Festivities
The Lisbon Festivities are based around the devotion to Santo António and take place during the entire month of June. But Carnide continues, like it was an independent and still rural village, its festivities linked to the cult of Our Lady of Light during the time of the end of the harvest time. September is therefore a month of a fair and religious festivities.
The devotion and pilgrimages of the Our Lady of Light had great projection in the 16th and 17th centuries. They gathered the rural population from Mafra and Sintra, the nobility that spent here summer, representatives of the royal family and population of Lisbon in general. Everyone came to watch the image of Our Lady of Light passing by in the procession that crossed the streets of Carnide.
The fair appeared naturally to meet the needs of the people gathered, ending up being an important economic centre. Here the fresh produce and handicrafts of the region were traded with emphasis on the pottery and basketry, and the buying and selling of cattle was particularly important at a certain point.
The festivities couldn’t fail to include cultural and entertainment events such as street plays, popular games and picnics.
Arquivo Municipal de Lisboa; Fair in Largo da Luz, Carnide; 19–; Paulo Guedes (1886-1947); PT/AMLSB/CMLSBAH/PCSP/004/PAG/000028
Today, Carnide’s appearance is obviously urban, but the fair and the festivities are still alive.
During the entire month of September, the Luz Square is occupied by this big fair where you can find all sorts of products, food and drinks and amusements. The music concerts gather Portuguese artists of various styles and constitute a great attraction. The procession with which the festivities culminate is one of the grandest in the city of Lisbon.
Join in the festivities and visit the Church of Our Lady of Light, a centenarian tradition and a quasi-secret patrimony to discover.
Note: Original article published on 5 September 2018.
The project getLISBON has been very rewarding and we want to continue revealing the singularities of fascinating Lisbon. Help us keep this project alive!
By using these links to make your reservations you’ll be supporting us. With no extra costs!
• Look up the best hotels on Booking.com and get 15% or more off! • Looking for a different experience? We can create a customised itinerary based on your interests. Contact us! • Or if you prefer tours and other activities in various destinations, take a look at GetYourGuide. • Save time and money with a flexible Lisbon Card!
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