Portuguese Architecture Part 23

This monument is indeed one of the most pleasing pieces of renaissance work in existence, and one would be tempted to attribute it to Joo de Castilho were it not that it is more French than any of his work, and that in 1525 he can hardly have come back to Thomar, where the Claustro da Micha, the first of the new additions, was only begun in 1528. It will be safer then to attribute it to one of the Coimbra Frenchmen.

[Sidenote: Tomb in Graca, Santarem.]

The same must be said of the tomb in the Graca church at Santarem. It was built in 1532 in honour of three men already long dead--Pero Carreiro, Gonzalo Gil Barbosa his son-in-law, and Francis...o...b..rbosa his grandson. The design is like that of Bishop Pinheiro's monument, omitting all beneath the plinth, except that the back is plain, the arch elliptical, and the pediment small and round. The coffer has a long inscription,[142] the jambs and arch are covered with arabesques, the side shafts are taller and even more elegant than at Thomar, and in the round pediment is a coat of arms, and on one side the head of a young man wearing a helmet, and on the other the splendidly modelled head of an old man; though much less pleasing as a whole, this head for excellent realism is better than anything found on the bishop's tomb.

If we cannot tell which Frenchman designed these tombs, we know the name of one who worked for the da Silvas at So Marcos, and we can also see there the work of some of their pupils and successors.

[Sidenote: So Marcos.]

So Marcos, which lies about two miles to the north of the road leading from Coimbra through Tentugal to Figueira de Foz at the mouth of the Mondego, is now unfortunately much ruined. Nothing remains complete but the church, for the monastic buildings were all burned not so long ago by some peasantry to injure the landlord to whom they belonged, and with them perished many a fine piece of carving.

The da Silvas had long had here a manor-house with a chapel, and in 1452 Dona Brites de Menezes, the wife of Ayres Gomes da Silva, the fourth lord of Vagos, founded a small Jeronymite monastery. Of her chapel, designed by

[Ill.u.s.tration: FIG. 77.

THOMAR. STA. MARIA DOS OLIVAES. TOMB OF BP. OF FUNCHAL.]

[Ill.u.s.tration: FIG. 78.

SO MARCOS. TOMB IN CHANCEL. _From a photograph by E. Biel & Co., Oporto._]

Gil de Souza, little now remains, for the chancel was rebuilt in the next century and the nave in the seventeenth. Only the tomb of Dona Brites' second son, Ferno Telles de Menezes, still survives, for the west door, with a cusped arch, beautifully undercut foliage, and knotted shafts at the side, was added in 1570.

The tomb of Ferno Telles, which was erected about the year 1471, is still quite Gothic. In the wall there opens a large pointed and cusped arch, within which at the top there hangs a small tent which, pa.s.sing through a ring, turns into a great stone curtain upheld by hairy wild men. Inside this curtain Dom Ferno lies in armour on a tomb whose front is covered with beautifully carved foliage, and which has a cornice of roses. On it are three coats of arms, Dom Ferno's, those of his wife, Maria de Vilhena, and between them his and hers quartered.

Most of the tombs, five in all, are found in the chancel which was rebuilt by Ayres da Silva, fifth lord of Vagos, the grandson of Dona Brites, in 1522 and 1523. These are, on the north side, first, at the east end, Dona Brites herself, then her son Joo da Silva in the middle, and her grandson Ayres at the west, the tombs of Ayres and his father being practically identical. Opposite Dona Brites lies the second count of Aveiras, who died in 1672 and whose tomb is without interest, and opposite Ayres, his son Joo da Silva, sixth lord of Vagos, who died in 1559. At the east end is a great reredos given by Ayres and containing figures of himself and of his wife Dona Guiomar de Castro, while opening from the north side of the nave is a beautiful domed chapel built by Dona Antonia de Vilhena as a tomb-house for her husband, Diogo da Silva, who died in 1556. In it also lies his elder brother Lourenco, seventh lord of Vagos.

The chancel, which is of two bays, one wide, and one to the east narrower, has a low vault with many well-moulded ribs springing from large corbels, some of which are Manoelino, while others have on them s.h.i.+elds and figures of the renaissance. It still retains an original window on each side, small, round-headed, with a band of beautiful renaissance carving on the splay.

Dona Brites lies on a plain tomb in front of which there is a long inscription. Above her rises a round arch set in a square frame. Large flowers like Tudor roses are cut on the spandrils, the ogee hood-mould is enriched with huge wonderfully undercut curly crockets, all Gothic, but the band between the two mouldings of the arch is carved with renaissance arabesques. The tomb of Ayres himself and that of his father Joo are much more elaborate. Each, lying like Dona Brites on an altar-tomb, is clad in full armour. In front are semi-cla.s.sic mouldings at the top and bottom, and between them a tablet held by cherubs, that on Dom Joo's bearing a long inscription, while Dom Ayres' has been left blank. The arches over the rec.u.mbent figures are slightly elliptical, and like that of the foundress's tomb each is enriched by a band of renaissance carving, but with cla.s.sic mouldings outside, instead of a simple round, and with a rich fringe of leafy cusps within. At the ends and between the tombs are square b.u.t.tresses or pilasters ornamented on each face with renaissance corbels and canopies. The background of each recess is covered with delicate flowing leaves in very slight relief, and has in the centre a niche, with rustic shafts and elaborate Gothic base and canopy under which stands a figure of Our Lord holding an orb in His left hand and blessing with His right. The b.u.t.tresses, on which stand curious vase-shaped finials, are joined by a straight moulded cornice, above which rises a rounded pediment floriated on the outer side. From the pediment there stands out a helmet whose mantling entirely covers the flat surface, and below it hangs a s.h.i.+eld, charged with the da Silva arms, a lion rampant. (Fig. 78.)

Here, as in the royal tombs at Coimbra, Manoelino and renaissance forms have been used together, but here the renaissance largely predominates, for even the cusping is not Gothic, although, as is but natural, the general design still is after the older style. Though very elaborate, these tombs cannot be called quite satisfactory. The figure sculpture is poor, and it is only the arabesques which show skill in execution.

Probably then it was the work not of one of the well-known Frenchmen, but of one of their pupils.[143]

Raczynski[144] thought that here in So Marcos he had found some works of Sansovino: a battlepiece in relief, a statue of St. Mark, and the reredos. The first two are gone, but if they were as unlike Italian work as is the reredos, one may be sure that they were not by him. A recently found doc.u.ment[145] confirms what its appearance suggests, namely, that it is French. It was in fact the work of Mestre Nicolas, the Nicolas Chantranez who worked first at Belem and then on the Portal da Magestade at Santa Cruz, and who carved an altar-piece in the Pena chapel at Cintra. Though much larger in general design, it is not altogether unlike the altar-piece in the Se Velha. It is divided into two stories. In the lower are four divisions, with a small tabernacle in the middle, and in each division, which has either a curly broken pediment, or a sh.e.l.l at its head, are sculptured scenes from the life of St. Jerome.

The upper part contains only three divisions, one broad under an arch in the centre, and one narrower and lower on each side. As in the cathedral, slim candelabrum shafts stand between each division and at the ends, but the entablatures are less refined, and the sharp pediments at the two sides are unpleasing, as is the small round one and the vases at the top. The large central arch is filled with a very spirited carving of the 'Deposition.' In front of the three crosses which rise behind with the thieves still hanging to the two at the sides, is a group of people--officials on horseback on the left, and weeping women on the right. In the division to the left kneels Ayres himself presented by St. Jerome, and in the other on the right Dona Guiomar de Castro, his wife, presented by St. Luke. Throughout all the figure sculpture is excellent, as good as anything at Coimbra, but compared with the reredos in the Se Velha, the architecture is poor in the extreme: the central division is too large, and the different levels of the cornice, rendered necessary of course by the shape of the vault, is most unpleasing. No one, however, can now judge of the true effect, as it has all been carefully and hideously painted with the brightest of colours. (Fig.

79.)

Being architecturally so inferior to the Se Velha reredos, it is scarcely possible that they should be by the same hand, and therefore it seems likely that both the work in St. Peter's chapel and the pulpit in Santa Cruz may have been executed by the same man, namely by Joo de Ruo.[146]

[Sidenote: Pena Chapel, Cintra.]

Leaving So Marcos for a minute to finish with the works of Nicolas Chantranez, we turn to the small chapel of Nossa Senhora da Pena, founded by Dom Manoel in 1503 as a cell of the Jeronymite monastery at Belem. Here in 1532 his son Joo III. dedicated a reredos of alabaster and black marble as a thankoffering for the birth of a son.[147]

Like Nicolas' work at So Marcos the altar piece is full of exquisite carving, more beautiful than in his older work. In the large central niche, with its fringe of cusps, is the 'Entombment,' where Our Lord is being laid by angels in a beautiful sarcophagus. Above this niche sit the Virgin and Child, on the left are the Annunciation above and the Birth at Bethlehem below, and on the right the Visit of the Magi and the Flight into Egypt. Nothing can exceed the delicacy of these alabaster carvings or of the beautiful little reliefs that form the pradella. Many of the little columns too are beautifully wrought, with good capitals and exquisitely worked drums, and yet, though the separate details may be and are fine, the whole is even more unsatisfactory than is his altar-piece at So Marcos, and one has to look closely and carefully to see its beauties. As the one at So Marcos is spoiled by paint, this one is spoiled by the use of different-coloured marble; besides, the different parts are even worse put together. There is no repose anywhere, for the little columns are all different, and the bad effect is increased by the way the different entablatures are broken out over the many projections.

[Sidenote: So Marcos.]

Interesting and even beautiful as are the tombs on the north side of the chancel of So Marcos, the chapel dos Reis Magos is even more important historically. This chapel, as stated above, was built by Dona Antonia de Vilhena in 1556 as a monument to her husband. Dona Antonia was in her time noted for her devotion to her husband's memory, and for her patriotism in that she sent her six sons to fight in Morocco, from whence three never returned. Her brother-in-law, Lourenco da Silva, also, who lies on the east side of the same chapel, fell in Africa in the fatal battle of Alcacer-Quebir in 1578, where Portugal lost her king and soon after her independence.

The chapel is entered from the nave by a large arch enriched in front with beautiful cherubs' heads and wreaths of flowers, and on the under side with coffered panels. This arch springs from a beautifully modelled entablature borne on either side by a Corinthian pilaster, panelled and carved, and by a column fluted above, and wreathed with hanging fruits and flowers below, while similar arches form recesses on the three remaining sides of the chapel, one--to the north--containing the altar, and the other two the tombs of Diogo and of Lourenco da Silva.

On the nave side, outside the columns, there stands on either side--placed like the columns on a high pedestal--a pilaster, panelled and carved with exquisite arabesques. These pilasters have no capitals, but instead well-moulded corbels, carved with griffin heads, uphold the entablature, and, by a happy innovation, on the projection thus formed are pedestals bearing short Corinthian columns. These support the main entablature whose cornice and frieze are enriched, the one with egg and tongue and with dentils, and the other with strapwork and with leaves.

In the spandrils above the arch are medallions surrounding the heads of St. Peter and of St. Paul, St. Peter being especially expressive.

Inside, the background of each tomb recess is covered with strapwork, surrounding in one case an open and in another a blank window, but unfortunately the reredos representing the Visit of the Magi is gone, and its place taken by a very poor picture of Our Lady of Lourdes.

The pendentives with their cherub heads are carried by corbels in the corners, and the dome is divided by bold ribs, themselves enriched with carving, into panels filled with strapwork. (Fig. 80.)

This chapel then is of great interest, not only because of the real beauty of its details but also because it was the first built of a type which was repeated more than once elsewhere, as, for instance, at Marceana near Alemquer, on the Tagus, and in the church of Nossa Senhora dos Anjos at Montemor-o-Velho, not far from So Marcos. Of the chapels at Montemor one at least was built by the same family, and in another where the reredos--a very fine piece of carving--represents a Pieta, small angels are seen to weep as they look from openings high up at the sides.

Perhaps the most successful feature of the design is the happy way in which corbels take the place of capitals on the lower pilasters of the front. By this expedient it was possible to keep the upper column short without having to compare its proportions with those of the pilaster below, and also by projecting these columns to give the upper part an importance and an emphasis it would not otherwise have had.

There is no record of who designed this or the similar chapels, but by 1556 enough time had pa.s.sed since the coming of the French for native pupils to have learned much from them. There is in the design something which seems to show that it is not from the hand of a Frenchman, but from that of some one who had learned much from Master Nicolas or from Joo de Ruo, but who had also learned something from elsewhere. While the smaller details remain partly French, the dome with its bold ribs suggests Italy, and it is known that Dom Manoel, and after him Dom Joo, sent young men to Italy for study. In any case the result is something neither Italian nor French.

Even more Italian is the tomb of Dona Antonia's father-in-law, Joo da Silva, sixth lord of Vagos, erected in 1559 and probably by the same sculptor. Joo da Silva lies in armour under a round arch carved with flowers and cherubs. In front of his tomb is a long inscription on a tablet held by beautifully modelled boys. On each side of the arch is a Corinthian pilaster, panelled and carved below and having at the top a shallow niche in which stand saints. On the entablature, enriched with medallions and strapwork, is a frame supported by boys and containing the da Silva arms. But the most interesting and beautiful part of the monument is the back, above the effigy. Here, in the upper part, is a shallow recess flanked by corbel-carried pilasters, and containing a relief of the a.s.sumption of the Virgin. Now, the execution of the Virgin and of the small angels who bear her up may not be of the best, but the character of the whole design is quite Italian, and could only have been carved by some one who knew Italian work. On either side of this recess are round-headed niches containing saints, while boys sit in the spandrils above the arch.

Any one seeing this tomb will be at once struck with the Italian character of the design, especially perhaps with the boys who hold the tablet and with those who sit in the spandrils.[148]

[Ill.u.s.tration: FIG. 79.

SO MARCOS. CHANCEL.]

[Ill.u.s.tration: FIG. 80.

SO MARCOS. CHAPEL OF THE "REYES MAGOS." _From a photograph by E. Biel & Co., Oporto._]

Even without leaving their country, Portuguese designers would already have had no great difficulty in finding pieces of real Italian work. Not to speak of the white marble door in the old palace of Cintra, possibly the work of Sansovino himself, with its simple mouldings and the beautiful detail of its architrave, there exist at Evora two doorways originally belonging to the church of So Domingos, which must either be the work of Italians or of some man who knew Italy. (Fig. 81.)

[Sidenote: Evora, So Domingos.]

Built of white marble from Estremoz and dating from about 1530, the panelled jambs have moulded caps on which rests the arch. Like the jambs, the arch has a splay which is divided into small panels. Above in the spandrils are ribboned circles enclosing well-carved heads. On either side are pilasters with Corinthian capitals of the earlier Italian kind. The entablature is moulded only, and instead of a pediment two curves lead up to a horizontal moulding supporting a sh.e.l.l, and above it a cherub's head.

Such real Italian doors, which would look quite at home in Genoa, seem almost unique, but there are many examples of work which, like the tomb and the chapel at So Marcos, seem to have been influenced not only by the French school at Coimbra, but also by Italian work.

[Sidenote: Portalegre.]

[Sidenote: Tavira.]

[Sidenote: Lagos.]

Not very far from Evora in Portalegre, where a bishop's see was founded by Dom Joo III. in 1549, there is a very fine monument of this kind to a bishop of the Mello family in the seminary, and also a doorway, while at Tavira in the Algarve the Misericordia has an interesting door, not unlike that at Evora, but more richly ornamented by having a sculptured frieze and a band of bold acanthus leaves joining the two capitals above the arch. There is another somewhat similar, but less successful, in the church of So Sebastio at Lagos.

[Sidenote: Goes.]

[Sidenote: Trofa.]