Escolar Documentos
Profissional Documentos
Cultura Documentos
no concelho
de Alcácer
do Sal
Inventário Artístico da Arquidiocese de Évora
Teria razão S. João da Cruz, ao dizer que nenhuma representação ou imaginação serve de meio próximo para a união com
Deus; portanto, deve a alma despojar-se de todas elas?
Tal como ele, todos os grandes místicos puderam aproximar-se do mistério insondável de Deus - a cognitio Dei ex-
perimentalis de S. Tomás de Aquino -, através de um absoluto despojamento dos sentidos e, até, do próprio intelecto. A
sua experiência do conhecimento de Deus, mediada pela renúncia ascética a qualquer vontade própria, é uma vertigem de
radicalidade na vivenciação da Fé que impressiona e inspira.
Poucos de nós conseguem empreender uma jornada espiritual tão singular, mas há muitos outros caminhos que
apontam nessa mesma direcção. Como aquele que escolheu Santo Inácio de Loyola, o celestial Patrono de todos os Exercí-
cios Espirituais aclamado por Pio XI. O seu código de ascese cristã atravessou já cinco séculos e continua a ser seguido
em todo o mundo. Guiada por este paradigma maravilhoso e magistral - como lhe chamou Paulo VI –, a alma torna-se um
instrumento holístico na busca de Deus e da Sua Vontade em todas as coisas, desperta por aquilo que os sentidos podem
apreender, aberta às construções da imaginação e da memória, sustentada pelo entendimento e pela vontade.
Poderia muito bem ser esta a reflexão de alguém que entrasse pela primeira vez na Igreja de Santiago, em Alcácer
do Sal. É uma imensa nave azul e branca, as cores escolhidas pelos artistas do século XVIII para retratar, nos azulejos
que cobrem as paredes, episódios da vida do Apóstolo Tiago e da Virgem Maria. O visitante identifica-os, sem esforço,
e senta-se. Cativado pela expressividade do traço que compõe as figuras, o seu olhar demora-se a observar dois pere-
grinos ajoelhados aos pés de Nossa Senhora do Pilar. Invade-o a súbita lembrança dos peregrinos de Emaús e do seu
encontro com Jesus Ressuscitado. Deixa-se transportar ao momento em que abriram os olhos e Ele desapareceu, depois
de ter tomado e abençoado o pão partilhado à mesa (Lc 24,31): haviam sido iluminados com o dom da Visão, podiam
contemplar a Presença Divina sem qualquer mediação sensível.
“Teria razão, S. João da Cruz? Mas como se abrem os olhos do coração e da Fé?” Numa prece tão silenciosa quanto
profunda, o visitante pede a São Tiago que o ajude a ser, também ele, um caminheiro ao encontro da Luz.
Quando se ergue, é para admirar a exuberância barroca que toma conta do interior do templo e que a sobriedade
arquitectónica não deixa adivinhar. Já nada lembra a sua origem medieva, já nada resta da ermida que foi outrora. A
escala da construção, a riqueza das talhas, a intensidade dramática das pinturas e o esplendor decorativo da arte azule-
Este volume dedicado ao concelho de Alcácer do Sal é já o nono da colecção do inventário artístico da Arquidiocese
de Évora. Compulsando o conjunto dos volumes publicados, facilmente nos damos conta da íntima relação que existe
entre as obras de arte sacra e o percurso histórico do povo português. Nelas encontramos marcas das gestas, das
aventuras, das glórias, dos infortúnios e da fé de um povo que nasceu cristão, se consolidou como nação cristã, ao longo
das vicissitudes da história, e permanece imbuído numa cultura sedimentada nos valores cristãos. O melhor do que há
em Portugal de arte nasceu iluminado pela luz da fé cristã.
A partir das obras de arte sacra podemos refazer toda a história pátria. Cada peça de arte evoca uma época e narra
uma parcela da história do país, das instituições e das pessoas que estiveram na sua origem. É pena que muitas dessas
obras de arte sacra tenham desaparecido por incúria, por vandalismo, por preconceito ideológico ou por outras causas.
Apesar de tudo, o acervo existente ainda é numeroso e de boa qualidade. Pela nossa parte, não queremos sentir-nos
cúmplices do seu desaparecimento por inércia. Ao contrário, tomando uma atitude proactiva, temos vindo a promover,
segundo as nossas possibilidades, a protecção, a conservação, o conhecimento e a fruição do imenso património
artístico, uma das maiores riquezas do nosso país, para que não se interrompa a cadeia geracional de transmissão da fé
às novas gerações do presente e do futuro.
Animada do nobre ideal de protecção e promoção da cultura e da arte sacra, a nossa equipa de inventariação
tem vindo a desenvolver, há mais de dez anos, um trabalho notável, que nunca será demais salientar, percorrendo
sistematicamente todas as paróquias da Arquidiocese, sob a competente orientação do Dr. Artur Goulart, há muitos
anos radicado na cidade de Évora, onde foi dinâmico director do Museu e, a partir de agora, ligado a toda a vasta
Arquidiocese, como chefe dedicadíssimo e generoso da equipa de inventariação. Dotado de profundos conhecimentos
em Teologia e História da Arte, é, sem dúvida, a pessoa ideal para levar a cabo com sucesso o árduo e meritório trabalho
de inventariação do rico acervo artístico da vasta Arquidiocese de Évora. A ele e à sua prestigiosa equipa presto justa
homenagem e expresso sincero agradecimento, convicto de que os leitores deste e dos outros volumes gostosamente
comungarão dos mesmos sentimentos.
Fontes Manuscritas
Arquivo Nacional da Torre do Tombo (Lisboa) Mesa da Consciência e Ordens, Convento
de Santiago de Palmela, livros 16, 154, 173, 175, 176, 178, 179, 181, 185, 190, 192, 194,
198, 204, 223, 241, 253, 285, 356.
Estudos
Arte Sacra no Norte Alentejano. Inventário artístico da Arquidiocese de Évora, coord. de Artur
Goulart de Melo Borges, Évora, Fundação Eugénio de Almeida, 2008.
CARVALHO, António Rafael, Torrão do Alentejo: Arqueologia, História e Património, vol.
II, s.l., Junta de Freguesia do Torrão – Câmara Municipal de Alcácer do Sal, 2009
[edição on-line; disponível em: http://www.cm-alcacerdosal/pt/PT/Actualidade/
Publicacoes/Paginas/EstudosdoGabinetedeArquelogia.aspx]
CORREIA, Vergílio, Monumentos e Esculturas (séculos III-XVI), 2ª. ed., Lisboa, Liv.
Ferin, 1924.
LOURO, Pe. Henrique da Silva, Freguesias e Capelas Curadas da Arquidiocese de Évora
(séculos XII a XX), Évora, Gráfica Eborense, 1974.
PEREIRA, Maria Teresa Lopes, Alcácer do Sal na Idade Média, Lisboa, Colibri – Câmara
Municipal de Alcácer, 2007 (reimpressão).
- «O convento da Ordem de Santiago em Alcácer do Sal», Actas do 1º Encontro de His-
tória do Alentejo Litoral (18 e 19 de Outubro de 2008), Sines, Centro Cultural Emmerico
Nunes, 2009, pp. 142-155.
- «O Santuário de Santa Maria dos Mártires de Alcácer do Sal (Séculos XIII a XVI)»,
Actas do V Encontro sobre Ordens Militares, coordenação de Isabel Cristina F. Fernandes,
Palmela, Câmara Municipal de Palmela/GEsOS, 2009, pp. 635-676.
REMA, Henrique Pinto, OFM, «A Ordem Franciscana no Alentejo», Congresso de His-
tória do IV Centenário do Seminário de Évora, Actas, vol. 1, Évora, Instituto Superior de
Teologia – Seminário Maior de Évora, 1994, pp. 361-388.
SERRÃO, Vitor, «Dois novos ‘primitivos’ atribuíveis ao Mestre da Lourinhã encontra-
dos no Concelho de Alcácer do Sal», O Diário, Suplemento Cultural, 27 de Novembro
de 1983.
SILVA, José Custódio Vieira da, «A Capela dos Mestres em Alcácer do Sal», in Estudos
de Arte e História, Homenagem a Artur Nobre de Gusmão, Lisboa, Vega, 1995, pp. 234-238.
SOUSA, Bernardo Vasconcelos e (dir), Ordens religiosas em Portugal. Das origens a Trento
– Guia Histórico, Lisboa, Livros Horizonte, 2005.
TAVARES, Domingos, António Rodrigues. Renascimento em Portugal, Porto, Dafne Edi-
tora, 2007.
VILAR, Hermínia Vasconcelos, As dimensões de um poder: a diocese de Évora na Idade
Média, Lisboa, Estampa, 1999.
XAVIER, João Pedro, Arquitectura e Ciência – António Rodrigues [disponível em: http://
cvc.instituto-camoes.pt/ciencia/e57.html; consultado a 10.04.2011]
Portugal – Século XV
Escultura de vulto a 3/4 em calcário policromado,
parte posterior escavada ções mais humanizadas e de proximidade aos fiéis, aliado
A. 74 cm x L. 61 cm x Pr. 29 cm a um ambiente de profunda exaltação mística e crescente
AS.MR.2.004 esc religiosidade, alimentado por diversos textos piedosos
que de certa maneira colmatam a brevidade com que cer-
Igreja do Senhor dos Mártires
tas passagens são relatadas nos Evangelhos Canónicos. A
Alcácer do Sal
imagem que se venera em altar próprio do Santuário do
Senhor dos Mártires, ilustrativa do modelo devocional
típico de finais do século XIV/XV1, alicerça-se no acentua-
do contraste formal entre as figuras e é revelador de um
elevado sentido de simetria e contenção dramática. Numa
composição perfeitamente idealizada do momento que se
segue ao Descimento da Cruz, a estrutura piramidal da
Virgem, sentada num banco corrido, é cortada pela linha
quase horizontal descrita pelo corpo hirto de Jesus e con-
tinuada na correspondência das mãos, respectivamente a
amparar-lhe o pescoço e sobre o cendal. Todo o sofrimen-
to de uma mãe ante o corpo inanimado do filho, enfati-
zado pela inclinação da cabeça, está condensado no rosto
bordejado por véu. A beleza de Nossa Senhora potencia o
sentimento interiorizado e a dilacerante tristeza do olhar,
concretizada em finas lágrimas escorrentes. Ainda com
os olhos entreabertos, o Redentor encontra-se deitado
sobre o manto cadenciado, em guisa de leito confortável
que lhe serve igualmente de base aos pés, contrastando
com a rigidez do corpo em pose assumidamente perfila-
da, designadamente no desenho do rosto culminando em
barba pontuda. Num breve toque de intimidade, as mãos
estão meticulosamente dispostas sobre o braço materno,
sem no entanto interromperem a colocação paralela. A
maior simplificação no tratamento dos panejamentos na
zona do tronco, em que apenas se destaca a ponta do véu
atravessando o peito, é compensada pela definição das
pernas ocultas sob o manto, numa combinação de curvas e
refegos que demonstram a enorme leveza do tecido. Total-
Os grupos escultóricos venerados sob a invocação da mente repolicromadas são decoradas com motivos doura-
Piedade derivam de uma autonomização das representa- dos e policromados: estrelas no véu, fiada de pequenas flo-
ções da Virgem do contexto narrativo da Lamentação em res estilizadas no vestido, e pés florais pontuando o manto,
finais do século XIII e XIV, por via germano-francesa, so- cuja cercadura se desenvolve em banda mais elaborada. SN
bretudo decorrente da necessidade de traduzir em imagens
os novos paradigmas religiosos. Entre outros, destaca-se 1
Veja-se a título de exemplo a imagem do Museu Nacional de Arte Antiga (inv 1046 Esc),
a do Museu Nacional Colégio de São Gregório (CE0001), em Valladolid, ou ainda do
um enaltecimento do papel privilegiado e central da Vir- Museu Nacional da Idade Média de Paris, consultar em: http://www.musee-moyenage.
gem Mãe em toda a doutrina católica, gerando representa- fr/esp/pages/page_id18139_u1l2.htm
Portugal – c. 1720-1730
A obra divide-se em dois registos, e apresenta, na
Faiança
A. 248 cm x L. 246,5 cm base, um soco arquitectónico desenvolvido em articulação
AS.MR.3.001/1-2 azu com as lápides tumulares e os nichos das consolas pré-
existentes, com molduras compósitas, anjos, grinaldas e
Igreja de Santo António mascarões, pilastras de atlantes e entablamento, igual-
Alcácer do Sal mente perspectivado. Na banda do Evangelho, as lápides
tumulares, deixam menos superfície à obra de azulejaria,
que se resume a um painel figurado, cenário ribeirinho
com fortaleza, barcos, e uma figura a pescar. A obra de
cantaria prolonga-se ao segundo registo, com o armorial
dos Mascarenhas, finamente esculpido, numa moldura
ovalada, preenchido por painel com 30 azulejos de altura,
moldurado por barra de enrolamentos acantiformes e an-
jos. A cena de interior retrata São Franscisco dando as regras
da Ordem, acompanhado por Santo António, a que assis-
tem vários religiosos; à direita é representada uma janela,
em trompe l´oeil, que corresponde à que se abre defronte.
Do lado da Epístola, o lambril repete a estrutura descrita,
com dois pequenos painéis que representam eremitas. No
registo superior, o Milagre da Ressurreição, ocorrida no
adro da Sé de Lisboa, em que o santo ressuscita um morto
para provar que o seu pai estava a ser condenado injusta-
mente por assassínio. A decoração da capela estende-se
à face interior do arco triunfal, centrada por uma cartela
suportada por anjos, com mantos esvoaçantes, que inscre-
ve alguns dos atributos do santo: o livro e a cruz. Desta
caem grandes grinaldas de flores e frutos, que alcançam o
lambril, solução decorativa que se observa igualmente na
igreja de Nossa Senhora da Consolação, de Estremoz, em
cuja capela-mor e arco triunfal apreciamos um monumen-
tal conjunto de azulejos figurativos, de c. 1718-1719, atri-
buídos a António de Oliveira Bernardes (Valente 2008,
pp. 72-73).
No que respeita à iconografia antoniana, a associação
mais frequente, nos revestimentos cerâmicos, é a de Santo
António com São Francisco, por vezes no mesmo painel,
ou formando par, ou ainda associados em cenas mais com-
Na capela-mor da igreja do convento de Santo Antó- plexas, como é o caso destes painéis joaninos, datáveis de
nio, fundada no século XVI por Fernão Martins Masca- c. 1720-1730 (Meco 1995, pp. 49-50). Enquadram-se as-
renhas, alcaide de Alcácer e capitão da escola de ginetes sim na fase da grande produção joanina, a partir da segun-
de D. João II, e reconstruída após o terramoto de 1755, da década do século XVIII, quando a temática antoniana
conservam-se estes painéis de azulejos azuis e brancos, ganhou grande incremento, em conjuntos integrados ou
com temas da vida de Santo António. em registos de fachada. PV
Igreja de Santiago
Alcácer do Sal
Was John of the Cross right in saying that “no representation nor imagination can serve as a proximate means to
union with God, and for this reason the soul must renounce them”?
Like him, all great mystics have able come closer to the unfathomable mystery of God – the cognitio Dei experimentalis
of St Thomas Aquinas –, through an absolute baring of the senses and even of intellect itself. His experience of knowledge
of God, mediated by ascetic denial of any own will, is a vertigo of radicality in the experience of Faith that impresses
and inspires.
Few of us can undertake such a singular spiritual journey, but there are many other paths that point in this same
direction. Such as that chosen by St Ignatius of Loyola, the Heavenly Patron of all Spiritual Exercises acclaimed by Pius XI.
His code of Christian ascetics has already lasted five centuries and continues to be followed all over the world. Guided
by this marvellous and perfect paradigm – as Paul VI called it –, the soul becomes a holistic instrument in the search for
God and for His Will in all things, awakened by what the senses may learn, open to constructions of the imagination
and of memory, sustained by understanding and by resolve.
This could well be the reflection of anyone entering the church of Santiago, in Alcácer do Sal, for the first time.
It is a huge nave in blue and white, the colours chosen by 18th-century artists to depict, on the tiles that cover the
walls, episodes from the life of the Apostle James and the Virgin Mary. The visitor identifies them easily and sits
down. Captivated by the expressiveness of the figures, the visitor’s gaze moves on to two pilgrims kneeling at the feet
of Our Lady of the Pillar. He is invaded by the sudden memory of the pilgrims of Emmaus and meeting with Jesus
Resuscitated. He lets himself be transported to the moment when they opened their eyes and He vanished, after taking
and blessing the bread shared at the table (Luke 24.31): they had been illuminated with the gift of Vision, they could
contemplate the Divine Presence without any sensitive mediation.
“Was St John of the Cross right? But how can the eyes of the heart and of Faith be opened?” In a silent but profound
prayer, the visitor asks St James for help to also be a traveller towards the Light.
This volume devoted to the municipality of Alcácer do Sal is already the ninth in the collection on the Artistic
Inventory of the Archdiocese of Évora. Studying the set of books published, we soon understand the close relationship
between works of sacred art and the history of the Portuguese. In them we can find marks of the gestures, adventures,
glories, sorrows and faith of people who were born Christian, were consolidated as a Christian nation, despite the
setbacks of history, and remain imbued with a culture firmly based on Christian values. The best there is in Portuguese
art was born illuminated by the light of Christian faith.
Based on sacred art, we can rewrite the whole history of our country. Each piece of art suggests an era and narrates
an excerpt of the country’s history, of its institutions and of the people who created them. It is a pity that many of
these works of sacred art have disappeared through negligence, vandalism, ideological prejudice or for other reasons.
Nevertheless, the existing collection is still large and of the highest quality. On our part, we do not want to feel that we
are accomplices in its disappearance through inertia. On the contrary, by taking a proactive attitude, we have promoted,
within the limits of our possibilities, the protection, conservation, knowledge and use of a vast artistic heritage, one
of the greatest riches of our country, to prevent breaking the chain of transmission of faith to new generations of the
present and of the future.
Inspired by the noble ideal of protecting and promoting culture and sacred art, our inventory team has spent more
than ten years working on this notable task, the value of which can never be overestimated, systematically visiting every
parish in the Archdiocese under the capable guidance of Dr. Artur Goulart, who has lived for many years in Évora,
where he was the dynamic director of the Museum and, from now on, will be working for the whole vast Archdiocese
as the dedicated and generous head of the inventory team. With his profound knowledge of Theology and Art History,
he is, without a doubt, the ideal person to successfully carry out the difficult and commendable task of inventorying
the rich artistic collections of the vast Archdiocese of Évora. I would like to pay tribute to him and to his fine team and
express my sincerest thanks, in the conviction that the readers of this and other volumes will gladly share my feelings.
LIFE OF ST JAMES de las Españas (Madrid, 1610), Santiago de Compostela, Xunta de Galicia, 2000. The same iconogra-
phy of the Virgin with the Child in her arms can be found in a painting of Our Lady of the Pillar of
Zaragoza, dating from the 17th/18th century, from Cuzco, Peru (See Stratton-Pruitt, Suzanne, The
Virgin, Saints, and Angels: South American Paintings 1600-1825 from the Thoma Collection, Stanford Univer-
(Page 30) sity, 2006, p. 150-151).
Portugal – c. 1720-1730
Earthenware
H. 145 cm x W. 500 cm
AS.ST.1.001 azu CHASUBLE
Church of Santiago
Alcácer do Sal (Page 32)
Iberian Peninsula (?) – second half of the 16th century
In the church of Santiago, which was probably completed in 1724 Body: ivory silk satin, figured in gilt thread
Orphreys and edging: direct embroidery, in coloured silk thread, outlined by braid
(Santa Maria 1724, p. 316), we can find one of the most representa-
Woven braid
tive sets of the Baroque tiles in Alcácer do Sal, covering the walls of H. 125 cm x W. 106 cm (back)
the very wide nave, in three superimposed registers. The first register, H. 125 cm x W. 92 cm (front)
above an architectural socle, presents scenes from the life of St James AS.ST.1.007/1 par
in rectangular compositions that reach the imposts of the side chapel Church of Santiago
arches. The second register, following the outline of the arches, is di- Alcácer do Sal
vided into panels also dedicated to the saint. Finally, there is a series of
large rectangular panels on the life of the Virgin. Chasuble, with shaped front and pronounced neckline, extraor-
Notable in the second series is this scene of Our Lady of the Pillar, dinarily wide back and quite rounded base. The body in ivory silk
who, according to tradition, appeared to St James in the city of Zarago- satin, with orphreys and edging embroidered in coloured silk thread,
za, on the banks of the Ebro, accompanied by a choir of angels car- with cotton filling, outlined in braid. Narrow woven braid defines the
rying a column on which the Virgin wished to see a statue of herself. neckline, outlines the orphreys and edges the whole piece.
In this composition, the Virgin is depicted with the Child in her arms, The basic fabric may be of Iberian origin, since it is of a type
which differs iconographically from other older graphic representa- that was very popular in the 16th century, which prevents any safe
tions, such as that of Diego de Astor (c. 1585/90 to c. 1650)1, in which attribution of its specific place of manufacture. The body has a dense
the Virgin appears on her own. The angels that normally flank the naturalistic composition entirely filled with small sprays comprising a
image, playing harps and other string instruments, are here replaced flower and three small leaves, worked in gilt thread, and successively
by discreet seraphim over the halo of clouds. At the feet of Our Lady, repeated.
who looks down at him, is St James kneeling, facing two pilgrims also The orphreys are decorated with ornate embroidery with a reg-
kneeling. The edging of the panel, a band common to the whole series, ular motif standard, formed by an octagonal cartouche of stylised
is decorated with acanthus-leaf scrolls, interrupted in the centre by scrolls with corners ending in fleur-de-lis, a symbol of purity; the
pairs of angels holding symmetrical cartouches. fleur-de-lis at the top of each cartouche is larger and flanked by leaves
Virgílio Ferreira, the first writer to study these tiles, attributed and flowers. In the centre of the cartouche are two symmetrical leaf
them to António de Oliveira Bernardes, from a comparison with the stems, the stalks caught by a loop and finished with a six-petalled blue
tiles in São Domingos de Benfica (Correia 1917, p. 202). Later he com- and yellow flower. The side bands are worked in a similar motif, in an
pared them with the tiles “from Loios in Evora and Arraiolos and the undulating style.
Dominicans of Bemfica”, dating the work to the end of the first third Both the wide and rounded shape and the type of decoration of
of the 18th century, without attributing it to any artist (Correia 1972, the chasuble enable us to date it from the 16th century; at the time,
p. 148-149). However the tiles in the church of São Domingos de Ben- in addition to the reproduction of biblical themes, there was still a
fica, from 1710, are by António de Oliveira Bernardes, as are the tiles in fashion for large-scale patterned ornamental motifs, inherited from
the convent of Lóios, in Évora, from 1711, while the tiles in the convent the naturalistic decoration of the preceding century. In the second half
(Page 42) Choir stall with three seats, with curved and scrolled uprights,
Portugal – last quarter of the 17th century
continuing in legs of a similar design. Hinged seats, with curved front,
Cast, repoussé, chased, raised, engraved and raised silver
H. 17.50 cm x W. 9 cm x C. 21 cm; Weight 628.3 g and moulded armrests ending with volutes. Seat backs decorated with
AS.MR.1.006 our panels of faux painting that continuing as a frusto-conical stall back,
Church of Santa Maria marked by estipites that support the undulating moulded cornice. The
Alcácer do Sal top, in gilded and coloured carved wood, consists of an inverted pyri-
form cartouche containing a monstrance, decorated with volutes and
Silver incense boat on a round base decorated with row of styl- acanthus leaves, under three angel heads.
ised foliage. It has a frustoconical stem, the base decorated with acan- It is a curious piece that belonged to the confraternity of the
thus leaves and in the upper register framed by projecting rings and Blessed Sacrament, based for many years in this church, and it is a
incised fillets. combination of the traditional monastery choir stall – with charac-
The receptacle is in the form of a ship and the hull is decorated teristics clearly defined since the 16th century –, and the language
with bands of naturalistic scrolling foliage, suggesting an undulat- of the Rococo, with the evident reduction in carved ornamentation
ing movement while creating refined decorative effect. On the sides and figured elements restricted to the figures of angels, virtues and
we can also see, as is usual, the points for attaching the shrouds and seraphim. The lightening of lines is joined in this piece furniture by a
portholes for the anchor cables. The most original aspect of the piece painting that uses a red background, the favourite colour for painting
is the prow which is adorned with a figurehead of a zoomorphic furniture in Portugal, as well as tones of green that contrast with the
figure “adorned with plumes” and with the appearance of a “monster poorly executed faux painting, confined to the panels. Carved gilt or-
with a pointed and curved beak” (Falcão 2000, p. 113). Various ar- namentation appears only at the ends of the pillar estipites and, more
tefacts with this same decorative element can be found in the Arch- importantly, on the cartouche that surrounds the Blessed Sacrament.
diocese of Évora (VV.BA.2.055 our), as well as in the diocese of Beja This design would have been influenced by the Pragmatics en-
(Falcão 2000, p. 113-115), in the Museu Nacional de Arte Antiga acted by João V in 1749, which prohibited “making new furniture for
(Orey 1998, p. 88) and in other locations in mainland Portugal and the house, that include silver, nor fine or false gold, or border of any
the Atlantic area. type or material whatsoever” (Pinto 1952, p. 88)1 justified by superflu-
The upper part of the incense boat – the whole deck, raised by ous expenditure over half a century, the scarcity of Brazilian gold and
prow and stern castles – is decorated with scrolls of volutes with excesses in the application of precious metals to furniture. PV
incised foliage. The incense boat castles are pierced by a series of 1
See Fr. Cláudio da Conceição, Gabinete Histórico, vol X, chap. 10.
arches, and the stern is surmounted by a graceful scroll, with pierced
decoration, as is the prow, but there the scroll is smaller although
more pronounced. Between them is a hatch to access the hold, with
two rings. Facing this central area, on each side of the castles, are
anthropomorphic grotesque, that are yet another decorative detail
on this incense boat. The hinged stern castle acts as the lid of the
incense boat.
Unfortunately this fine example of sacred silver is not accompa-
nied by its usual spoon, the whereabouts of which are unknown.
The ex-voto, giving thanks for the grace received, depicted the
vower in the typical setting of a bedroom, accompanied by relatives RETABLE OF SAINT SUSANNA
and doctors (?) before an image of Our Lady of the Mount, in the
(Page 60)
halo of clouds that normally delimits the planes of the sacred and
Portugal – first half of the 16th century
the profane, in this type of votive painting. The refined atmosphere, Oil on oak
marked by furniture from the time of king José – including carved H. 157 cm x W. 90 cm (Nativity)
gilt mirrors – reflects, to a certain extent, the status of the offeror. José H. 159 cm x W. 92 cm (Annunciation)
Joaquim Figueira, a young man at the time, as shown in the portrait AS.SU.1.002/1-2 pin
itself, would have continued to farm as his parents, tenant farmers, had Church of Santa Susana
done before him, since in 1822 we can find him as a contributor to the Santa Susana
construction of roads connecting Alcácer do Sal with Évora and Beja,
providing 4800 réis (Diário do Governo 1822, p. 1184). Ten years On the high altar retable of the church of Santa Susana are two
later, he was the 1st councillor of the town of Alcácer do Sal (Gazeta important Renaissance paintings – the Nativity and the Annuncia-
de Lisboa 1832, p. 883). tion – which, despite their quality, have gone almost unnoticed by
The first reference we know of to the estate of Vale de Lobos, art historians.
a farm on the banks of the Sado, which was navigable as far as the The retable on which they can be found comprises a single body
neighbouring Porto Rei, dates from 13 March 1440, and cites a docu- with three bays, the central bay filled with roca figures of the patron-
ment by which “Vasco Correia, squire, as a consequence of a donation ess, and crowned by a highly simplified cross of St James, recalling the
made to him by Dona Maria Correia, abbess of the Monastery of Santa connection between the parish and the Order of Santiago.
Clara in Lisbon, took possession of the following properties: Herdade The two paintings are mentioned in 1969 in official documents
do Canavez (currently Valle de Lobos), in the land of Alcacer and a from the Institute de José de Figueiredo and were classified as heritage
vineyard, in the same land” (Valente 1931, p. 173). of municipal interest in 1988. The historian Vítor Serrão was the first
Subsequently, in a dowry agreement, in 1482, for the marriage to write an article on the two paintings, in 1983, and to attribute them
between Inês Correia, daughter of Isabel Paes and her first husband to the sphere of influence of the Master of Lourinhã. More recently,
Vasco Correia, and Mem Gonçalves Salema1, squire, her stepfather and they have been studied and observed with infrared light for an MA
mother gave her “a bread estate located in Canavez (current estate of thesis by Manuel Batoréo.
Valle de Lobos, near Porto Rei) in the land of Alcácer, and to movables They are in an acceptable state of repair, although considerably
adorn the house” (op. cit., p. 172-173). darkened by varnish, and they have been repainted on occasions, but
In 1712 the same estate is mentioned in a deed by which Sebastião “what can be discerned, however, is more than enough to confirm the
Salema Correia and his wife Dona Luísa Barradas “endowed their son, exceptional fine quality of the panel and the elegant composition of
Cristovão Salema2, to take holy orders, with the following properties the sfumato, which, combined with the correct modelling and draw-
that were free, without subjection to a chapel or morgado: Tercenas ing, suggests the hand of a notable artist” (Serrão 1983).
do Porto Novo situated in the Estate of Valle de Lobos” (ibidem, p. In the left-hand painting, a Nativity Scene, we can see Our Lady
198-199). and St Joseph in adoration of the Christ Child who is lying in the
In 1824, when José Joaquim Figueira was probably a tenant of centre. The scene also contains, as is usual, the ox and the donkey
that estate, “Fernando da Mesquita Pimentel e Pavia Barreto, resident in a decorous attitude. Various small angels appear in the composi-
in Évora, [took possession] from the property that had belonged to tion, next to Jesus venerating him, or in the heavens. On the left, is a
CHALICE
NOSSA SENHOR A DA BOA VIAGEM
(Page 64)
(Page 62) Portugal – 16th/17th century
Portugal – 18th century Cast, chased, repoussé, and gilded silver
Sculpture in gilded polychrome wood, with estofado decoration H. 23 cm x Diam. 12 cm; Weight 441.4 g
H. 160 cm x W. 70 cm x D. 60 cm AS.SA.1.004 our
AS.SA1.017 esc Church of São Francisco
Church of São Francisco Torrão
Torrão
Silver gilt chalice with a circular base, decorated with ferronner-
In a type of figuration common to other Marian representations, ies and stylised naturalistic elements (fleur-de-lis), against a punched
Our Lady, raised by angels, holds to her left side the naked Christ ground. The stem, with an urn-shaped knop, has decoration similar to
Child, who raises his hand in benediction, while her right hand is that of the base and is moulded by a sequence of loops and bands of
held out to display the attribute that generally determines this invoca- ovals in the lower and upper sections. Plain bell-shaped cup, opening
tion, a ship. slightly at the rim, a style that became common in the 17th century.
This impressive figure in a clearly Baroque style is not particularly The decoration covers practically the whole surface of the chalice,
dynamic in its expressive in its movement, with rather rigid gestures, which makes this piece a good example of acceptance of the geo-
but is enhanced by the vigorous folds and abundant decoration of the metric decorative elements of ferronneries and cartouches that spread
draperies. Structured on a vertical axis, it is dominated by its hieratic in Portugal in the late 16th century and was systematically used in
and frontal pose, although the flexion of the leg and flowing move- decoration in the following century (Franco; Penalva 2006, p. 172).
ment of the mantle, caught under over the left arm, create an elegant Similar examples have already been inventoried in the Archdiocese of
interplay of diagonal lines with the left tip of the veil floating across Évora, although most have a cylindrical stem and a cup supported by
her chest. This trend is repeated in the figure of the Child in a majestic ribs, unlike this case. To help date this piece, another chalice with very
and frontal pose with his arms outstretched, despite the expressive similar decoration from the convent of São Paulo da Serra da Ossa
sideways movement of his crossed legs. Despite the solid volume of (RE.SA.1.099 our) has the year 1615 carved on the base, which leads
his body, with its well-shaped clearly childlike plumpness, and his us to date this chalice to the last years of the 16th century or the first
high position almost on his mother’s shoulder, her hand appears to quarter of the following century. JM
support up with utmost ease. Devotional titles of Our Lady related
to the sea (Nossa Senhora da Boa Viagem, dos Navegantes, dos Ma-
LOPES 2001 - António Firmo da Costa: um ourives de Lisboa através da sua obra. [Lisboa]:
Luís Castelo Lopes – “Custódia”. In BOIÇA, Joaquim Manuel Ferreira IPM: Casa Museu Dr. Anastácio Gonçalves, 2000
(coord.) – Museu de Mértola: Porta da Ribeira – Arte Sacra. [s.l.]: Campo PENTEADO 2000
Arqueológico de Mértola, 2001. Pedro Penteado – “Confrarias”. In AZEVEDO, Carlos Moreira de –
MECO 1989 - 1995 Dicionário de História Religiosa de Portugal: A-C. Lisboa: Círculo de Lei-
José Meco – “Teotónio dos Santos”. In PEREIRA, José Fernandes (dir.) tores, 2000, pp. 459-470.
- Dicionário da Arte Barroca em Portugal. Lisboa: Editorial Presença, PEREIRA 2000 – 2009
1989.ISBN 972-23-1088-7 Maria Teresa Lopes Pereira – Alcácer do Sal na Idade Média. [s.l.]: Coli-
– “Iconografia Antoniana no azulejo português”. In PORTUGAL.Co- bri: C. M. Alcácer do Sal, 2000, p.162
missariado das Comemorações Antonianas (org.) – O Santo do Menino – “O Culto de Nossa Senhora dos Mártires em Alcácer do Sal, a Se-
Jesus: Santo António, Arte e História. Lisboa: IPM: ICEP, 1995. nhora da Cinta e as Cantigas de Santa Maria”. Medievalista. [Em linha].
MOTU PRÓPRIO 1999 6 (2009). [Consultado 25 Out. 2010]. Disponível em http://www2.
IGREJA CATÓLICA. Papa, 1978-2003 (João Paulo II) – Carta Apostó- fcsh.unl.pt/iem/medievalista/. ISSN 1646-740X.
lica para a Proclamação de Santa Brígida da Suécia, Santa Catarina de Sena PINTO 1952
e Santa Benedita da Cruz co-padroeiras da Europa: [Motu Próprio de 1 de Augusto Cardoso Pinto – Cadeiras Portuguesas. Lisboa: A.C. Pinto,
Outubro de 1999]. [Em linha]. [Consult. 25 Out. 2010]. Disponível 1952.
em: http://www.vatican.va/holy_father/john_paul_ii/motu_pro-
prio/documents/hf_jp-ii_motu-proprio_01101999_co-patronesses- REAU 2000
europe_po.html Louis Reau – Iconografia del Arte Cristiano: Iconografia de los santos
A-F. 2ª ed. Barcelona: Ediciones del Serbal, 2000. ISBN 84-7628-
MORNA 1993 - 2000 208-7
Teresa Freitas Morna (coord.) – Escultura século XVI ao Século XX: colec-
ção de escultura da Misericórdia de Lisboa. Lisboa: S.C.M.L, 2000, p.92.
ISBN 972-98004-4-8