Lisboa_an Iberian Hub

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ART THEATRE DANCE MUSIC NIGHT ART THEATRE DANCE MUSIC NIGHT

MY OWN

LISBON

LISBOA, AN IBERIANCULTURAL HUB

ECOFRIENDLY TOURS

INTERVIEW

JOANA VASCONCELOS


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JOANAVASCONCELOS

Lisboa is one of the fewEuropean capitals whose river

ows into the ocean, and that

privilege of communicating

with the world is absolutely

fantastic. This is how ne artist

Joana Vasconcelos sums up

her city, where she grew up

in a democracy in which she

believes. In her 15-year-long

career her works are scattered

all over the world: I belong to a

very special, globetrotting family

which is really mid-Atlantic,

but my starting point is always

Lisboa, she concludes.

MUDE MOVESHOUSE

The new Fashion and Design

Museum (MUDE) now has its own

space where you can appreciate

the importance of contemporary

design in habits and customs. It

is an important element in the

regeneration of the downtown

Pombaline Baixa district, and

another example of Lisboas

booming cultural life.

DECORATIVEARTS IN THECONSERVATIONOF IDENTITYA noble Portuguese house indeed!

This is what the Museu das Artes

Decorativas Portuguesas (Museum

of Portuguese Decorative Arts) has

to oer. As well as how the house

changed between the 16th and 19th

Centuries. Displaying and conserving,

through the art of craftsmanship.

712LISBOA IN THEAVANTGARDE,WITH IDENTITY

To feel Lisboa is to touch its

identity, to identify the soul that

has spilled into its nooks, crannies

and customs, into art, people and

cultural icons. It is also to admire

its capacity to innovate in its

treatment of iconic symbols from

a mixed perspective of tradition

and avant-gardism, a synonym for

the passing of times. The nostalgia

that embraces the senses invites

you to visit some shops that reect

life in Lisboa.

INDEX

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MY OWN LISBONThe magazine-guide for visitors to LisboaN 5

OWNED BYTurismo de LisboaRua do Arsenal, 151100-038 LisboaT: +351 210 312 700; F: +351 210 312 899E-mail: [email protected]

DIRECTORPaula Oliveira

EDITOR

Edifcio Lisboa OrienteAv. Infante D. Henrique, 333H, Esc. 491800-282 LisboaT: +351 21 850 81 10; F: +351 21 853 04 26Email: [email protected]

PRINTINGSogapal

100,000 copiesPortuguese, Spanish, English,French, German, Italian

Registration n 231744/05


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MY LISBOA

RODRIGO LEO

TOURS

ECOFRIENDLY TOURS

VIRTUAL VIEWPOINTS

WALKING THROUGH HISTORY

WALKS

ROME IN LISBOA IN THE 18TH CENTURY

A FLEMISH NATION IN LISBOA

DIRECTORYRESTAURANTS

MONUMENTS AND MUSEUMS

LEISURE

ACCOMMODATION

SINTRA,CAPITALOFROMANTICISMWho does not love thee?

questioned Almeida Garrett, the

father of Romanticism in Portugal,

in writing of beautiful Sintra, in

rhetoric that foreshadows the

magic of the place of dreams, the

Serra da Lua (Mountains of the

Moon). The most beautiful village

perhaps in the world, according to

Lord Byron, or where all foreigners

will be able to nd a piece of their

homeland, in the words of Hans

Christian Andersen.

DEOLINDADeolinda is an observer of lives

from the window of her ground-

oor apartment somewhere in the

suburbs of Lisboa, an inspiring city,

beautiful in its imperfection.

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SURFINGSurng is the main sport

in coastal Portugal and

conditions are exceptional

along the Lisboa area

coastline. Surng fanatics

ock to Ericeira, Cascais,

Peniche and Nazar in search

of the best wave!

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CONVENTDESSERTSDelicacies with names like

Barrigas de Freira (Nuns

Bellies), Papos de Anjo(Angels Double Chins) and

Orelhas de Abade (Abbots

Ears) show some hints of

sinful irony about the desserts

originating in convents. Lots

of sugar and eggs, delicately

prepared with devotion by the

accomplished hands of the

celibate ecclesiastic inmates.

A skill developed over the

centuries that still survives, due

largely to the annual Alcobaa

Fair in mid-autumn, which

has become one of Portugals

most important and popular

gastronomic events.

24 OCEANARIUMOn a planet where 71% of thesurface is composed of water,the importance of the oceans is

central to the Earths harmony.

Lisboas Oceanarium is a symbol

of the harmony between Man

and Nature.

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MYLISBOA

RODRIGO LEOMUSICIAN

From my home I can see the Tagus. In

any season. At any time of day. The light

that comes through the window is al-

ways special, and dierent from the light

of other places I have been to. Maybe

this is due to the proximity of the river,

the colour of the houses, or their history.

Maybe. I dont know, but I do know that

nowhere else have I ever encounteredlight like Lisboas light, a cinematic light

which deserves a musical score. Thats

what I try to provide and that may be

why a lot of people refer to melan-

choly in my music. I compose most of

my music in Lisboa, so even though

indirectly everything inspires me: the

people, the noise from the street and...

the silence. And when the inspiration

runs out, theres always a window with

a view over the Tagus....

Lisboa is my home, a place to come back

to. However much I travel and enjoy

discovering other places, the greatest

pleasure is the one I feel when I return

home. I well remember the rst tours

with Madredeus and how I missed Lis-

boa. Even now, when I travel on holiday

or for work, after a time I get that knot in

my heart. Coming back to Lisboa means

seeing my family, friends and the places

I like again. It means coming home.

The city is beautiful and modest, cos-

mopolitan and yet provincial in size.

And in this Lisboa of mine, I follow rou-

tines. Every day. I take the kids to school

in the So Bento district. After that Iquite often go home to park the car and

then wander around the streets of Bica

before starting work. Whenever theres

time I have breakfast at the Pastelaria

Bnard caf in Chiado. Of course if my

wife comes with me I know the route

to the rehearsal room in Rua da Atalaia

will be longer as we window-shop in

the Baixa, Chiado and Bairro Alto areas.

Suddenly the morning is gone and I feel

like a lunch of fresh sh in the Adega

das Mercs, a small, unpretentious

restaurant in the street of the same

name, in Bairro Alto. If I feel more like

an Italian meal I go to the Casanostra in

Travessa do Poo da Cidade, where I feel

at home. On days when time is really

short, I go to Caf Vertigo in Travessa do

Carmo to enjoy a delicious light meal. I

spend my afternoon working until its

time to fetch the kids from school. This

is my daily routine. Whenever I stay in

Lisboa for the weekend, on Saturday

morning I like to go to the organic mar-

ket in Principe Real to buy good olive oil

and fresh, tasty fruit and vegetables. But

my nights also follow a routine dinnerat PapAorda, a restaurant that even

after 30 years is still among the best in

Lisboa; then, a few metres away, there is

Bar Frgil, at number 126. There I meet

friends and on the days when its (too)

full, I can take refuge in my rehearsal

room on the oor above.

Frgil began in the 80s, the same year

I founded my rst band with friends,

Stima Legio. Whenever we nished a

gig wed always head for Bairro Alto and

inevitably end up in Frgil. This space

was very important in upholding the

dignity of Bairro Alto.

It was there, 11 years ago, that I met my

wife, whod been going to Frgil since

the beginning. Thats why I decided to

buy the bar to stop it from closing down

when the former owner and founder,

Manuel Reis, embarked on a bigger

project: the famous Lux nightclub, an-

other space I cant resist. After a while I

became a partner in Frgil. Besides the

fact that Im devoted to it, its almost an

obligation for me to be there at least

one night a week. Its great to combine

work with pleasure....Bairro Alto is a magical place. By day

you have the local commerce, the tas-

quinhas (simple bar/eateries) and the

residents; the night is for revellers from

outside the bairro, bars and fado.


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The museum adds another attraction to Lisboas cul-

tural tourism circuit. It is situated in a pedestrian zone

at the heart of the historical centre, on the artery link-

ing Rossio Square to the Terreiro do Pao (Praa de

Comrcio/Commerce Square). Besides enriching the

citys cultural oering, this project is part of an am-

bitious agenda for revitalising the downtown Baixa

area.

Housed in what used to be the main o ce of a

Portuguese nancial institution, the exhibition area

centres around an impressive green marble counter.

This large, rather valuable item used to belong to the

bank. It has been kept in place and ts perfectly into

the new surroundings.MUDE is not fully complete, in part because of its

mission. It is dierent and broke the mould in this

respect too, as it opened its doors with work still in

progress. It also changed its support materials and

structures, with an emphasis on exibility.

MUDEMOVESHOUSE

Although for now visitors are still confronted by stark

cement walls, they have access to the internationally

renowned Francisco Capelo collection, consisting of

2,500 objects. The inaugural exhibition, aptly entitled

Ante-estreia (Preview), was a journey through con-

temporary history, with 170 items by designers from

Le Corbusier to Azzedine Alaa. Visitors can see works

by designers such as Russel Wright, Charlotte Perri-

and, Ettore Sottsass and Mar Newson and pieces by

stylists like Pierre Balmain, Paco Rabanne, Jean Paul

Gaultier, Vivienne Westwood and John Galliano. Theworks on show were signicant in changing habits

and customs, in the relationship with space and with

the body.

This world of design and fashion, the exceptional quality

of the collection and the underlying concept of MUDEs

mission make Lisboa an important Design City.

The rst oor, used for temporary exhibitions, con-

tains Ombro a Ombro (Shoulder to Shoulder), a

display of posters aimed at showing the role of de-

sign in building the images of politicians. This is fol-

lowed by another exhibition, proibido proibir (Its

Forbidden to Forbid). This focuses on the turbulent

1965-72 period, which of course had an impact on

fashion.

By the time the work has been completed in 2011,

there will be a cafeteria/restaurant on the buildings

top seventh oor, a 100-seat auditorium, a records

and document centre, exhibition rooms for perma-

nent and temporary displays, spaces that can be

rented for product presentations, an educationalarea (workshops and studio), a rehearsal area for styl-

ists and designers to develop and present projects, a

restoration and conservation laboratory and a shop

and bookshop with direct street access.

The new Fashion and DesignMuseum (MUDE) now has its

own space where you can

appreciate the importance of

contemporary design in habits

and customs. It is an important

element in the regeneration of

the downtown Pombaline Baixa

district, and another example of

Lisboas booming cultural life.


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While MUDE focuses on contemporary creativity, the

Museum of Portuguese Decorative Arts recreates an-

other pivotal period in the development of Portugal

and the world. Housed in the Palcio Azurara (Azurara

Palace), in Largo das Portas do Sol, in the heart of theAlfama district and overlooking the Tagus, the museum-

school was founded in 1953 with the purpose of exhibit-

ing works of art and teaching the traditional techniques

of craftsmanship.

The Palcio Azurara dates back to the 16th Century. In

1947 it was acquired by Ricardo do Esprito Santo Silva,

who had it restored as a 18th-Century aristocratic house

and decorated it with objects from his personal collec-

tion. This was the beginning of a remarkable cultural

project that culminated, following the establishment of

The Triumphal Procession of the Giraes, from the series

In the Style of Portugal and India, is one of the most sig-

nicant items in the Textiles section. Executed in wool

and silk at the Franco-Flemish workshops in Tournai in

the early 16th Century, there are only twenty or so ex-

amples of this in the world. It depicts a colourful proces-

sion of exotic animals and illustrates the contact with the

New World arising from the Portuguese Discoveries.

But the museums prestige is strongly associated with

the craftsmanship component. In the museums work-

shops, original items are reproduced, individual models

are designed and the heritage is conserved and re-

stored. The two areas of activity both share respect forthe mastery of traditional materials and methods and

ensure the quality of the restoration work.

One of the most recent projects in the conservation

and restoration eld was the restoration of the furniture

at the Seteais Palace in Sintra. This involved 13 arts and

crafts workshops and 40 experts from dierent specialist

elds, lasting one year. The collection at Seteais Palace

contains close to 2,000 pieces in artistic elds such as

furniture, illumination, textiles, tapestry, mural and easel

painting, engraving and porcelain.

DECORATIVE ARTSIN THE CONSERVATION OF IDENTITY

A noble Portuguese house indeed!

This is what the Museu das Artes

Decorativas Portuguesas (Museum

of Portuguese Decorative Arts) hasto oer. As well as how the house

changed between the 16th and 19th

Centuries. Displaying and conserving,

through the art of craftsmanship.

the Ricardo Esprito Santo Foundation for the conserva-

tion of arts and crafts, in the donation of the palace and

part of the collection to the Portuguese state.

The purpose is for visitors not only to appreciate and

admire the work carried out here but also to be able to

have a close look at its design and execution. The mu-

seums dierent thematic sections Furniture, Textiles,

Gold- and Silverware, Chinese Porcelain, Portuguese

Faence and Tiles, Painting, Drawing, Sculpture, Book-

binding and Illumination take the visitor on a tour

through the Portuguese Decorative Arts, with works

from the 15th to the 19th Centuries. The museum is or-

ganised so as to bring to life periods and activities in the

history of a Portuguese aristocratic house.

The permanent exhibition includes important collec-

tions of Portuguese tiles, 17th- and 18th-Century Ar-raiolos carpets, gold- and silverware from the 15th to

the 19th Centuries, faence and painting, with works by

Gregrio Lopes, Bento Coelho da Silveira, Francisco Viei-

ra o Portuense (the Man from Porto), Vieira Lusitano, Pil-

lement, Nol, Van Loo, Delerive, Dirk Stoop and Quillard.

However, perhaps the most important section is the one

devoted to Furniture, with over 330 pieces representing

two centuries of art. This helps to create an atmosphere

of daily life in a poetic progression bequeathed by vari-

ous generations.


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JOANA VASCONCELOS

Lisboa is one of the few European

capitals whose river ows into

the ocean, and that privilege of

communicating with the world is

absolutely fantastic. This is how ne

artist Joana Vasconcelos sums up

her city, where she grew up in a

democracy in which she believes. Inher 15-year-long career her works are

scattered all over the world: I belong

to a very special, globetrotting family

which is really mid-Atlantic, but my

starting point is always Lisboa, she

concludes.


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Does the public understand the concept you are

trying to convey in associating creativity with

the materials?

More than the materials or the scale, what is impor-

tant is the dialogue. Its my view reected in a piece

or installation, but the interpretation is always sub-

jective and variable. When I conceived the Sapatos

(Shoes), with elegant high heels made from cook-

ing pot materials, I imagined how di cult it is to go

round Lisboa like that. If we link the di culty of going

up to the Bairro Alto, for example, in high heels, we

see how Lisboa is a sign of conquest, especially for

women. Many people associated them with glam-

our, symbolised in Marilyn Monroe, due to the shape,

the externalisation of the female world, in contrast

with the inner world, with household chores. This

contrast is represented through the materials used

the pots and pans. Also Lisboa is female, a princess.

Its a strange way of life its Amlia, its fado, its the

shwife....

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Is Lisboa becoming more connected to your

world? How is the relationship reected in your

work?

Lisboa has always been a starting point in personal

and artistic terms. In fact, the identity of any artist is

inseparable from their authenticity as a person, from

their conception of life. For me, Lisboa is synony-

mous with communication with the world. I belong

more to the Atlantic Lisboa than the Tagus Lisboa. I

belong more to the Lisboa that communicates with

the world than the one that sails only within its own

waters. In aesthetic terms, the citys light, intensely

white, the relationship with the sea and the way it

slides over the hills and ows into the river are ele-

ments that are present in my works.

For example, to compensate for the intense lumi-

nosity of Lisboa, I try to use more vivid colours than

bright ones. In the same way, in the organisation of

the space, Lisboa has very distinct spaces and this

change in approach that the city imposes leads to

distinct, more exuberant moments. I use vivid col-

ours and variations of scale to express discontinui-

ties, while the more gurative moments, the signs ofgreater continuity, are suggested by minimalism and

more austere shades, like black.

Your work is very much associated with the

choice of materials and the size of the installa-

tions, in a very ironic, individual style. In a glo-

balised world where dierentiation is essential

even in creative activities (possibly more than

most), how would you describe the artistic world

of Joana Vasconcelos?

Atlantic poetics. From this approach of starting from

Lisboa, I regard the sea as communication with the

world, looking out from within. Its a very strong per-

spective and dierent from that of the river, which is

associated with sailing internal waters, through the

country within. Its not inconsequential that we see

the Tagus as Portugals main artery. For me Lisboas

power of communication is very important, because

there are few European capitals with a river owing

into the Atlantic. We have very dynamic cities in crea-

tive terms, but Barcelona, for example, doesnt have

this power. Paris and London are a kind of magnet, inwhich it is the world that converges towards them

and not the opposite ow. One of the cities that has

this capacity to go outwards from within, like Lisboa,

is Istanbul, which is absolutely fascinating.

LISBOAIS ALWAYS

THE STARTINGPOINT


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Which piece would portray Lisboa?

If we think of Spot me, thats Lisboa. Its a sentry-box,

my one, with an inside full of mirrors which dont allow

you a view of yourself. Or Barco da Mariquinhas (Mari-

quinhas Boat), in the sense of communication, via the

tiles that externalise the tradition, culture and heritage

of the city, transporting it around the world.

In 2004 you were invited to work on the Belm

Tower as part of the Wonders of the World

project. What did this challenge mean?

I grew up looking at the Belm Tower every day on

the way to school. I know the monument very well

and this will a lways be my most di cult work . When

the invitation came I looked into myself to under-

stand the meaning of the Tower.

The decision to honour the Tower with a Colar

(Necklace) was due to the fact that the monu-

ment represents the Lisboa princess, a mark of the

discovery of the world by the Portuguese, which

served as a safe for semi-precious stones, with all the

maritime Manueline collective imagination. It was

time to honour it with a necklace of precious stones.

The buoys are the contemporary maritime element

that crowns the city-princess which had stood there

alone, because the second Tower, its partner on the

other side of the river, was never built.

Will it always be your most di cult work? If you did

it again 20 years from now, would it be dierent?

It will always be my most di cult work. And as I have

a non-linear perspective of development, or rather, Idont have a pre-established plan for achieving inter-

im goals leading up to a major objective, I look at my

works with the same intensity and same motivation

as at the time I designed and produced them.Red Independent Heart, 2005


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If we think of A Noiva (The Bride), O Sapato

(The Shoe), the recent Nctar (Nectar) orCorao (Heart), we see current issues such

as the role of women are evoked, with dierent

approaches depending on society. What are you

working on here?

Ideas come, but you have to nd partners in order to

realise them. For example, the Jardim do den (Gar-

den of Eden), on exhibit at the Museu da Electricidade

(Electricity Museum), is an idea that took seven years

to execute. In the same way, my work based on Rafael

Bordalo Pinheiro will soon be reected in the Museu

da Cidade (City Museum) garden improvements.

Two projects closely related to environmental

sustainability

Denitely. The articial garden aims to express the

relationship between materials in order to recycle

banality, by giving an appearance of quality within

the context of the garden, but given the idea of

suspension the lack of anchors remains. In other

words, however much Man is able to put technol-

ogy at the service of Nature, there needs to be an

attitude of preservation, conservation of fauna and

ora, because articial intelligence does not perform

miracles.

On the other hand, the exhibition of Bordalo Pin-

heiros works at the City Museum not only helps to

restore the gardens, which is a world that enchants

me, but is also an attempt to raise awareness of the

need to preserve hence the use of crochet as a pro-

tective material.

As for the works chosen, I tried to select the wildest

animals, because we cant totally domesticate what

is wild, which I think is important to emphasise in a

context of species becoming extinct and having aproactive approach to conservation.

The City Museum garden improvements illus-

trate the role of design in one of the basic pillars

of city development. How do you see urban re-

generation in a city like Lisboa?

This project is an example of how it is possible to give

Lisboas gardens a new life, and even a new garden

dynamic. I think one of the greatest challenges in Lis-

boa is to regenerate the inner city. Make-up never

makes a person better inside, and in the same way

houses also demand a comprehensive approach to

the interior. Its not enough to paint the outside walls

there has to be a social system for improving the

quality of life of the ageing residents of the historical

centre, rehabilitating the area and introducing a new

dynamic that rejuvenates and breathes new life into

the sea-city.

What works can we expect to see in the short

term?

Sr. Videira (Mr. Vine) and D. Jasmim (Lord Jasmine)

are in the implementation phase. Mr. Vine is a largebottle, ve metres high, made of forged iron and

containing vines on the inside; Lord Jasmine is a

teapot, also made of forged iron, that exudes scent

from the jasmine planted inside. In other words, an

essence of Lisboa.

Vitrine, 2008

Nectar, 2006

Garden of Eden, 2007


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VIDA PORTUGUESA

PORTUGUESE LIFEVALUE MADE IN PORTUGAL

The purpose of A Vida Portuguesa, the brainchild of Catarina Portas, is to rediscover the brands

that made history and made their mark on generations. It seeks to re-establish the value of Por-

tuguese manufactured products and to present Portugal in a surprising way. These brands are

engraved on the memory and market a way of life a country, a people, an identity, reected

in the daily life of an era and in awakening memories and sensations in us all.

The broad oering includes k itchen, o ce, bathroom and decorative products: the marvel-

lous Dr. Bayard sweets, Olex hair restorer, Couto medicinal toothpaste, Benamor hand cream

and Ach Brito soaps can once again be enjoyed by their devotees. Likewise, Zelly oatakesand rice, Gorreana tea from the Azores and Tricana canned Azorean fresh sh are available to

anyone wanting them in their shopping basket.

Bordalo Pinheiros ceramic works, especially the swallows - exclusively at A Vida Portuguesa,

Viva Lamego (Widow Lamego) tiles and Viana do Castelo embroidery can also be found in

this shop.

LISBOAIN THE AVANTGARDE,WITH IDENTITY

To feel Lisboa is to touch its identity, to identify the soul that has

spilled into its nooks, crannies and customs, into art, people and

cultural icons. It is also to admire its capacity to innovate in its

treatment of iconic symbols from a mixed perspective of tradition

and avant-gardism, a synonym for the passing of times. The

nostalgia that embraces the senses invites you to visit some shops

that reect life in Lisboa.12_13


14/52

A ARTE DA TERRATHE ARTOF THE LANDA PASSIONFOR HANDICRAFTS

Because handicrafts have to be genuine, A Arte da Terra seeks to re-

vive eight centuries of the history of arts and crafts by displaying unique

items, each with a story to tell.

One of the shops specialities are the Lenos dos Namorados (Lovers

Handkerchiefs), a great symbol of love and unrequited love, which date

back to the 17th to 18th Centuries. They evoke times when girls of a mar-

riageable age would embroider handkerchiefs in cross-stitch according

to their imagination, in the hope that their chosen one would use them.

The linens and the burel, the embroidery of Viana do Castelo, Felgueiras,

Castelo Branco and Arraiolos and the gurative and decorative objects,intended mainly for children, are also available in this shop, which also

has an irresistible array of traditional desserts from all over the country.

A Arte da Terra has been located in the heart of Lisboa since 2006, in

a building with roots in the 12th Century, which enhances the artistic

identity of its wares.


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JIMMY

PORTUGUESESTYLESHOPWINGS OF DESIRE

Jimmy Portuguese Styleshop is dedicated to crea-

tive objects and concepts, the result of a deep-felt

desire to innovate.

From Bordalo Pinheiros ceramics to Alentejo-in-

spired chairs; from minimalist pop cockerels in white

miniature a gust of wind from the north, like birds

that pose in the Madeiran cage and rest, despite

the intense heat to the recycling of the 1950s-60s

lamps for the 21st Century, this is an attractive shop

with a unique identity.

THE WRONG SHOPIN THE TRADITIONOF THE UNEXPECTED

Along with concepts inspired and revived on the basis of Portuguese identity,

there are other shops that seek to combine greater sophistication with avant-

gardism.

One of these is The Wrong Shop, which sells designer products that are imagi-

natively ironic and tongue-in-cheek. Toys and practical objects are reinterpretedthrough design, with unexpected results in their allusions to traditional Portu-

guese symbols and contemporary reality. Using this as a way of communicating

Portugal, the items on sale include t-shirts, pictures, pottery, badges, bags and

bijouterie.

What if the Barcelos Cockerel was painted by you? Well, thats what The Wrong

Shop suggests. The shop does not have the traditional Barcelos Cockerel (one of

Portugals cultural icons) on sale, but instead appeals to the customers imagina-

tion by oering a number of cockerels which have to be painted. In a spirit of

irony it sells as souvenirs cockerels inspired by foreign customs and cultures. From

N (Nude) to Ol, from UK to USA and Gay, all you have to do is choose.

The Wrong Shop recently picked a representative of Portuguese diplomacy the

new Obama family dog, Bo. T-shirts, mugs and soaps announce the message Yes,

we Co (Co means dog in Portuguese) or No, we Cat!


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LISBOAHAS WINDOWS OPENTO THE WORLD

Contado Ningum Acredita (No-one Would Believe

It) was the rst song recorded by Deolinda for Fnac

New Talents 2007. The success they have had in lit-

tle over a year and a half, mastering Lisboas fado

personalities and experiences, has been almost

unimaginable. Then came their rst album, which

proved to be their launching pad, as Fado Toninho

was included in the soundtrack of a TV series. Now,

the album Cano ao Lado (The Song Next Door),

sung totally in Portuguese, has reached double plati-

num status and 4th place in the World Music ChartsEurope. Why? Besides being original music, sung in

Portuguese, Deolinda tells universal stories that can

be identied with just as much by the public in a vil-

lage in Portugal as in Berlin, London or Rome, say the

four musicians, who are in their early 30s.

The female world is immediately in evidence in

the bands name: Deolinda. Early on we felt a fe-

male presence in all the songs and this led to the

decision to create a character. In a few seconds

the suggestion of Ivone was supplanted by De-

olinda, a woman who watches the world through

the window, which characterises the storytelling

tone of the work of the young band. Pedro Mar-

tins previous experience of writing for television

gave him a greater ability to create stories and de-

velop characters, which is reected in the songshe writes.

Often associated with fado, Deolinda do not con-

sider themselves to be a fado project, let alone

revivers of the fado sound, but fans of fado and

lovers of good music, admitting that: We need

LINEUPThe DeolindaAna Bacalhau, 31

Jos Pedro Leito, 30

Pedro da Silva Martins, 33

Lus Jos Martins, 31

DiscographyCano ao Lado (The Song Next Door )

(April 2008, double platinum)

Number of concertsPortugal About 200 (2008 & 2009)

World 25 (since March 2009)

DEOLINDA


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Deolinda is an observer

of lives from the windowof her ground-oor

apartment somewhere in

the suburbs of Lisboa, an

inspiring city, beautiful in

its imperfection.

these inspirations not only for our work but also for

our personal fullment. And can fado be danced to,

as in Garconette da casa de fado (Fado house wait-

ress)? Of course it can! Try it!

After all, fado is not evil, its not a crime or a fault.

Like Portuguese music. A message that has been

well received by the public, destroying the old myth

that singing in Portuguese is tacky and paving the

way for those who feel motivated and committed to

making music in Portuguese. Focused on trying to

make the best music possible, Lisboa is the scene of

their adventures.

For sure Lisboa isnt a perfect city, in the words of the

title of one of the albums most intimate songs, but it

is beautiful in its imperfection and very inspiring. For

Deolinda, Lisboa is more than fado or saudade (nos-

talgia). It is still a city of open windows and a cultural

melting pot. It retains the personality of a large me-

tropolis and at the same time preserves rustic traces

in sometimes surrealist situations. More and more,the residents have dierent skin colours, speak other

languages and observe other customs and religions,

and for all these reasons there is an urgent need to

reformulate the concept of authenticity and (why

not?) the concept of tradition.

FROM PORTUGALTO THE WORLD

Cano ao lado was released in early 2009 in Eu-

rope and the United States, and Deolinda have held

concerts in the main European cities. Their reception

has been very good and we ended up convinced

that Deolinda can exist not only in Portugal but in

other peoples and other languages. Mainly because

the public has been identifying with the stories we

tell, and as Ana Bacalhau is multilingual she can

convey the message of our songs.

In spite of increasing demand, Deolinda still lives

on the ground oor but due to her success she has

been leaving home more often. This is also because

the neighbours water her plants and look after

her cats and goldsh when she is away for longer.

Above all, she continues to observe lives, not only

from her window but also through other windows

she has passed by on her travels. This capacity for

observation may produce new stories for a new al-

bum quite soon.

DIRECTSPEECHIs the rmness of the song Movimento

Perptuo Associativo (Perpetual Asso-ciative Movement) a cry from the soul,

a thump on the table? ... We are living in

turbulent times in the world and theres

a lot of talk of resignation and lethargy.

Is music still a means of communication

that jolts convictions?

If it is a thump on the table, its one that turns

the table over and brings all the dishes and

glasses down on top of you. Were all very ide-

alistic and revolutionary up to the moment

of truth when we have to show our mettle

and in the end we invent a load of excuses

for not following through. Sometimes its not

a question of resignation or lethargy its

because theres an ingrained idea of comfort.

Were all too comfortable to change what-

ever it is. Changing things is a bore! Were like

those fat cats that lie on the sofa watching a

mouse and saying carry on, Ill catch you up

later! Its not that its necessarily bad it even

has its charm... and Deolinda loves cats...

You played the Festival Sudoeste (South-

west Festival) two years running. What

dierences did you notice?

Firstly, the stage. We went from the side stage

to the main one. Then the audience. In the

rst year we were practically unknown, and

in the second there was a crowd that knew

our songs by heart. Finally, the design of the

show. Last time we had some special guests

and we left the area in a truck through the

middle of the audience singing Movimento

Perptuo Associativo. The similarity betweenthe two concerts: both unforgettable!

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RitaCarmo


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SINTRA, CAPITAL OF ROMANTICISM


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Who does not love thee? questioned Almeida Garrett, the father of Ro-

manticism in Portugal, in writing of beautiful Sintra, in rhetoric that fore-

shadows the magic of the place of dreams, the Serra da Lua (Mountains

of the Moon). The most beautiful village perhaps in the world, according

to Lord Byron, or where all foreigners will be able to nd a piece of their

homeland, in the words of Hans Christian Andersen.

The magical dreams that enshroud Sintra had their heyday in the Romantic

period in the late 18th and 19th Centuries.

The exotic countryside and unusual climate charmed, from amid the mist,

the foreign travellers who settled there and built the symbols that made

Sintra known today as the capital of Romanticism, like a Holy Mountain out

of a fairy tale.

The high point of landscaping in Sintra came in the reign of King D. Fern-

ando II (1836-1885), the artist-king who disseminated Romanticism in a

unique manner around the Mediterranean regions. After he acquired the

Convento de Pena, situated on a steep mountain, he transformed it into a

dream palace with the vision and aesthetic sensibility that only a romantic

could have. The palace was set in a large park with rare exotic trees, adorned

with fountains, watercourses and chains of ponds, chalets, chapels and false

ruins and traversed by paths reinvented on each walk.

A secret place of illusions, in the mid-19th Century Sintra became a favour-

ite haunt of artists such as Viana da Motta, Alfredo Keil, Ea de Queirz, Ram-

alho Ortigo, Lord Byron, Hans Christian Andersen and Richard Strauss.

Sintra is a World Heritage Site, a universe of dreams come true the only

place in the country in which History has become a garden, where death

is impossible in the vigour of its beauty, in the words of the writer VerglioFerreira.

But Sintras typical architecture is not conned to the Pena Palace. Regaleira,

Monserrate, the Castelo dos Mouros (Moorish Castle), the Palcio da Vila

(National Palace) and the National Palace of Queluz are obligatory land-

marks and must-sees for those wishing to experience the Romantic spirit.

MS


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PALCIODE MONSERRATEMONTSERRATEPALACE

For Francis Cook, Sintra was love at rst sight. In 1858 hecommissioned the architect Thomas Knowles to build

the Palcio de Monserrate on the ruins of the neo-

Gothic mansion built by the English merchant Gerard

de Visme. Monserrate had been visited by Lord Byron a

century before, and its beauty was immortalised in the

poem Childe Harolds Pilgrimage. It is truly a fairy-tale

experience to walk among the trees from all over the

world, taking in the purifying serenity of the lakes and

the steady rhythm of the waterfalls.

PALCIO ANDQUINTADA REGALEIRAREGALEIRA PALACEAND ESTATE

Situated on the slopes of the Serra (mountains), and only

a few kilometres from the historical centre, the Quinta da

Regaleira and its Palace stand in impressive four-hectaregrounds transformed by Carvalho Monteiro, the former

owner, and Luigi Manini, his architect, into gardens, lakes,

grottoes and constructions that appeal to the senses.

You have to take its pulse, inhale the alchemy, admire the

palace and amble through the atmosphere.


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PALCIO NACIONALDE SINTRANATIONAL PALACEOF SINTRAIt is not known who designed the National Palace

of Sintra, also known as the Palcio da Vila (Town

Palace). It is situated in the historical centre, where itis conspicuous due to the large twin chimneys that

grace the kitchen. It was used by the Portuguese

royal family until the end of the monarchy in 1910. In

2008 it was the most visited palace in Portugal, with

over 400 thousand visitors.

CASTELODOS MOUROSMOORISH CASTLELike a snake winding around the mountains and with

a view of the sea, the Moorish Castle has its roots in

the Moorish occupation in the 8th Century. Accord-

ing to legend, the castle was captured from the

Moors due to the bravery of a group of 20 knights

under the command of King D. Afonso Henriques

and under the inspiration of Our Lady, Mary.

PALCIO NACIONALDA PENA NATIONALPALACE OF PENA

The National Palace of Pena is one of the main symbols

of the 19th-Century Romantic movement and the rst

to be built in Europe, about three decades before the

famous Schloss Neuschwanstein castle in Bavaria.The palace is inseparable from 200 hectares of greenery,

with numerous garden constructions that delight visi-

tors. There are bridges and grottoes, garden seats, per-

golas and fountains, houses for guards, greenhouses of

camellias and the omnipresent protection of the stone

sculpture of the warrior.

PALCIO AND QUINTA DA REGALEIRA

Tel: 21 910 66 50

January, November and December

Free Visit: 10 am to 5.30 pm last entry at 5 pm

Guided Visit: 10.30 am; 11 am; 12 pm; 2.30 pm;

3 pm; 3.30 pm

February, March and October

Free Visit: 10 am to 6.30 pm last entry at 6 pm

Guided Visit: 10.30 am; 11 am; 12 pm; 2.30 pm;

3.30 pm; 4 pm

April to September

Free Visit: 10 am to 8 pm last entry at 7 pm

Guided Visit: 10.30 am; 11 am; 12 pm; 2 pm; 2.30

pm; 3.30 pm; 4.30 pm; 5.30 pm

MONSERRATE PALACE

Tel: 21 923 73 00

April to September

Monserrate Park: 9.30 am to 8 pm last entryat 7 pm

Monserrate Palace: 10 am to 1 pm and 2 pm

to 6.30 pm

October to March

Monserrate Park: 10 am to 6 pm last entry

at 5 pm

Monserrate Palace: 10 am to 1 pm and 2 pm

to 4.30 pm

MOORISH CASTLE

Tel: 21 923 73 00

April to September

9.30 am to 8 pm last entry at 7 pm

October to March

10 am to 6 pm last entry at 5 pm

NATIONAL PALACE OF PENA

Tel: 21 923 73 00

April to September

Pena Park: 9.30 am to 8 pm last entry at 7 pm

Pena Palace: Outside Areas, Terraces and Chapel:

9.45 am to 7.30 pm last ticket at 6.45 pm and

last entry at 7 pm

Pena Palace: Full Palace Visit: 9.45 am to 7 pm

last ticket at 6.15 pm and last entry at 6.30 pm

October to March

Pena Park: 10 am to 6 pm last entry at 5 pm

Pena Palace: 10 am to 6 pm last entry at 5 pm

NATIONAL PALACE OF SINTRA

Tel: 21 910 68 40

9.30 am to 5.30 pm - last entry at 5 pm.

Closed on Wednesday


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IN SEARCHOF THE BEST WAVE

SURFING


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Surng is the main sport in coastal Portugal and con-

ditions are exceptional along the Lisboa area coast-

line. Surng fanatics ock to Ericeira, Cascais, Peniche

and Nazar in search of the best wave!

Ericeira is a xture on the mental map of surfers fromall over the world. This small shing village, a few

dozen kilometres from Lisboa, is well-known to the

worlds surng elite, according to an international

study of brands and locations associated with the

sport.

The colour blue is inextricably linked with Ericeira,

embracing it with wonderful waves and framing

the simple whitewashed houses. Strongly linked to

the sea, the regions beaches oer excellent condi-

tions for surng, especially the perfect and exclusive

right-hand reef breaks at Praia dos Coxos. But take

care this is only for highly experienced surfers, as

the rocky bottom, full of sea urchins, is not for the

uninitiated.... The right-hand waves are perfect, ris-

ing in the central part of the bay in calm conditions

and a little fur ther north when the waves are higher.

This coast also provides good sport for windsurfers

and kitesurfers, as Ericeira oers dierent sea depths,

point-breaks and beach-breaks.

Besides the o cial championships and competi-

tions, the circuits main beaches oer training ac-tivities for the young (and less young), in association

with the musical events and festivals that take place

from time to time all along the coast.

JooBarbosa

Jo

oBarbosa


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CONVENT DESSERTS

BLESSED

SINS


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Delicacies with names like Barrigas de Freira

(NunsBellies), Papos de Anjo(Angels Double Chins)

and Orelhas de Abade (Abbots Ears) show

some hints of sinful irony about the desserts

originating in convents. Lots of sugar and eggs,

delicately prepared with devotion by the ac-

complished hands of the celibate ecclesiastic

inmates. A skill developed over the centuries

that still survives, due largely to the annual Al-

cobaa Fair in mid-autumn, which has become

one of Portugals most important and popular

gastronomic events.

In fact the convents and monasteries received

many sons and daughters of the aristocracy,

who naturally brought with them gastronomic

habits and gifts that produced ne desserts, the

result of recipes that even today are still keptsecret. This is because they were the property

of the convent and the nuns promised never to

reveal them.

Convent desserts are part of Lisboas history, not

least due to the dozens of nuns convents that cre-

ated them. This year is the tenth anniversary of the

International Convent Liqueur and Dessert Fair at

the Monastery of Alcobaa, whose beauty is in it-

self a reason to visit and the ideal place to host the

event. In the Monks Refectory, pleasure sweetens

the soul, impregnating it with various egg and al-

mond desserts, such as the famous Nuns Bellies,

Angels Double Chins and Abbots Ears, among

many, many others with a divine avour.

But innovation can also accompany tradition, and

chocolates, jams, liqueurs, sweets, biscuits and

crackers are now prepared by nuns and monks in

European convents and monasteries. Liqueurs area worthy complement to them, especially Licor de

Singeverga, the only one still made in a monastery

in Portugal.

RECIPESTOUCINHO

DO CE (Bacon

from Heaven)

650 g sugar

500 g peeled

almonds

1 tsp cinnamon

11 egg whites

1 pinch of powdered clove

4 tbsp our16 egg yolks

Preparation:

Beat together the sugar, egg yolks, egg

whites, clove and cinnamon, and when

the mixture forms a smooth paste, add the

ground almond and our. Beat well, lay the

mixture in a pie dish greased with margarine

and dusted with our and place in the oven

at a low heat. When rm, remove from the

dish and dust o excess our. Cut into slices

and dip in sugar syrup and then in sugar and

cinnamon.

PAPOS DE ANJO

ANGELS

DOUBLE CHINS

Beat 12 egg yolks for

an hour. Grease small

moulds with butter

and ll them with

the yolks. Bake at a low heat and as soon asthey are ready remove them from the moulds

and place on a dish. Make syrup of sugar and

water and pour this over the double chins.

Leave for 24 hours.


26/52

What about visiting Lisboa in a dierent way fun and environmentally-

friendly? The various options are all about using means of transport

whether traditional or more innovative with low or zero CO2

emissions.

Eco-friendly tours are available by bicycle, horse-drawn carriage or

buggy. Lisboa is always a conquest.


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PEDALLING THROUGHHISTORY

All you need is the ability to ride a bike. The Lisboa Bike Tour

oers you a cycle ride round Lisboa, with a guide, starting

from the top of Eduardo VII Park and going down to the city

centre, via the Marqus de Pombal roundabout, Avenida

da Liberdade, Rossio, towards the riverfront, passing theAlcntara docks as far as Belm and nishing at the Belm

Tower.

It is an easy route with no uphill climbs. The full version lasts

three hours but you can shorten it, for example by going

only as far as Praa do Comrcio (Commerce Square).

ZERO EMISSIONS AND MAXIMUM

EXCITEMENT IN ELECTRIC VEHICLESA menu of four tours is available in vehicles that do not use fossil fuels. The Segway is

ideal for discovering the nooks and crannies of Alfama and the Castle of So Jorge, as

it can go beyond the reach of a car up the steep slopes of the heart of Lisboa. In wider,

atter areas, the two- or four-seat buggy is the talking and interesting toy with a GPS

that limits your chances of losing the way.

These Redtour oers are an attractive way of exploring and discovering Lisboa through

other eyes. The tours are designed to take one and a half hours, which can be shortened

or extended as the user wishes.

The four routes mentioned include Belm Golden Age of Discoveries, the point of de-

parture for the discovery of the New World, covering the Jernimos Monastery, the Belm

Tower, the Monument to the Discoveries, the Coach Museum, the Tropical Garden, the

Belm Cultural Centre and the Belm National Palace. Soho-Style Lisbon evokes Lisboas

Soho-like energy, from Chiado to Principe Real a cosmopolitan Lisboa where you can

nd numerous design shops, studios, art galleries, museums, restaurants, traditional and

contemporary cafs, bookshops, theatres and various artistic and cultural attractions. Old

Lisbon focuses on Lisboas S cathedral, the citys oldest church, the Castle of So Jorge

(recaptured from the Moors by King D. Afonso Henriques), via the Monastery of So Vi-

cente de Fora (one of the best examples of Portuguese Mannerist architecture) and the

stunning views from the Costa do Castelo. Finally the Heart of Alfama, perhaps the citys

most traditional district, oers a unique blend of tastes and aromas in the narrow, winding

streets and ubiquitous ights of steps that revitalise the soul.

HORSES IN BELM

The Belm Horse and Carriage Tours are organised by

Qtour. The aim is to bring tourist transport back to the

capital in these carriages, reviving a tradition and pro-

moting environmental sustainability at a very attractive

price. Until the middle of the 20th Century, horse-drawn

carriages were common throughout the riverside district.Each carriage has a maximum capacity of eight, and the

3-kilometre, 20-minute tour includes sites of historical and

cultural interest, such as the Jernimos Monastery, the

Belm Cultural Centre, the Coach Museum and the Pastis

de Belm caf.


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VIRTUAL VIEWPOINTS

VIRTUAL WINDOW


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An innovative system of interactive virtual viewpoints enables any

cybernaut to visit ten Lisboa scenes, each centred on one element of

the Portuguese capitals rich heritage.

Through this new instrument, accessible at www.visitlisboa.com, the

cybernaut is taken from anywhere in the world, in his/her own time, to

(re)discover views of the city of seven hills from the viewpoints of Monte

Agudo, Penha de Frana, Torel, Eduardo VII Park, the Santa Justa lift, So

Pedro de Alcntara, Graa, Nossa Senhora do Monte, Santa Luzia and the

Castle of So Jorge.

The Nossa Senhora do Monte (Our Lady of the Hill) viewpoint oers a

panoramic view of Lisboa, including the Castle of So Jorge, the Santa

Justa lift, the ruins of the Carmo Convent, the 25th April Bridge and the

Cristo Rei (statue of Christ the Redeemer).

The So Pedro de Alcntara viewpoint has an extensive view of the

historical centre of the city from Parque Eduardo VII to Avenida da

Liberdade and Praa dos Restauradores as far as the River Tagus. From

certain viewpoints it is possible to identify some of the others.

28_29

AntnioSacchetti


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JosManuel


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SHUTTLEVOUCHERIn the wake of the Taxi Voucher, available since

1999, comes the Shuttle Voucher, a new service

provided by Turismo de Lisboa (the Lisboa Tourist

Board) to add to the safety and comfort of visitorsto the capital.

This is a prepaid service for tourists, using luxury

vehicles driven by professional drivers trained in

tourism and uent in the clients language.

In cooperation with the National Light Vehicles

Association (ANTLITUR), the service is available at

Turismo de Lisboa o ces. With a eet of over 77

vehicles, its range of services includes pre-booked

transfers, pre-booked long-distance transfers,

personal services and pre-booked tours. Besides

travel in the Lisboa region, the Shuttle Voucher can

be used all over Portugal and Spain at a varied cost

depending on the distance and type of service.

The Sunday Walks devised and organised by the Centro Nacional de Cultura (National

Culture Centre) are an important tool in promoting cultural tourism, based on an in-

tegrated approach to tourism, the environment, the heritage, cultural itineraries and

training.

The places visited are diverse, but they all arouse peoples curiosity and interest.

Visitors can, for example, walk around the historical buildings in the downtown Pom-

baline Baixa district, appreciate the Lisboa Fountains both for their vital role in the city

and for the image they convey of Lisboas monuments, or else head out to the Pal-

cios de Algs (Algs mansions) among them the recently restored Palcio Anjos, a

quintessential 19th-Century summer residence in Algs. Works by some of Portugalsleading artists, such as Paula Rego, Graa Morais, Jlio Pomar and Antnio Palolo, are

on display there.

WALKING THROUGH HISTORY

WITH THE CENTRO NACIONALDE CULTURA

JosManuel


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On a planet where 71% of the surface is composed of

water, the importance of the oceans is central to the Earths

harmony. Lisboas Oceanarium is a symbol of the harmony

between Man and Nature.


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Lisboas privilege in having an exceptional link to the Atlantic is appropriately per-

petuated in the largest Oceanarium in Europe, where visitors are entranced by

thousands of animals and plants of hundreds of dierent species. This has made it

the most popular cultural attraction in L isboa, with more than a million visitors a

year. It promotes knowledge, conserves the natural heritage and emphasises theadvantages of a salutary relationship between Man and Nature.

Specially designed for the 1998 World Exposition in the Parque das Naes (Na-

tions Park), it provides a clear and innovative picture of how the seas and oceans

constitute a Global Ocean. This is indeed the name of one of the largest aquari-

ums in the world, with over ve million litres of salt water. It accompanies visi-

tors throughout their itinerary around the two oors, because its inhabitants are

nomads by nature, cruising several oceans with the help of their great mass. The

sharks, rays and barracudas are the largest symbols of over 100 species that share

the central tank (measuring more than 1,000 m2) which represents the open sea

and the four coastal habitats the North Atlantic, Antarctic, temperate Pacic and

tropical Indian oceans.Going down to the underwater oor, visitors nd 24 more aquariums that display

the specic nature of each habitat and its species in their global diversity, en-

hanced by the optimised light, sound and aromas.

At the access bridge at the entrance, the sounds plunge visitors into another di-

mension the coastal birds and breaking waves and, inside, the recorded sounds

of the Azores, Alaska and the Seychelles.


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ROME IN LISBOA

IN THE 18th CENTURY

WALKS

Fascinated by the artistic exuberance of Rome, King D. Joo V was inspired by

the Italian model to create grandiose works that projected Portugals image

in the world and marked the heyday of Baroque art in Lisboa. From Mafra (1)

to Belm (2), we witness the rich heritage and aristocratic culture of painting,

sculpture and gold- and silverware, with a strong liturgical emphasis and a glit-

tering legacy.

The rst half of the 18th Century was marked by the heyday of Baroque art in

Portugal, under the leadership of King D. Joo V. His strategy focused on keeping

the country out of major conicts and taking advantage of the years of prosperi-

NATIONAL COACH MUSEUM 3

When the Marquis of Fontes arrived in Rome on 8th July 1716, his mission was to rea rm the

power of Portugal and its colonies and ensure the title of Patriarchal See for the Royal Chapel

in Lisboa. On the mission he used ve themed carriages, whose pageantry and pomp were

inspired by the triumphal chariots of the ancient world the box upholstered with the best

textiles and the sculpted gilt work between the wheels showing o Portugals maritimepower. The rst, depicting the Coronation of Lisboa, represents the capital of the Empire

in the form of a young woman being crowned by Fame and Abundance. The Marquis of

Fontes coach features mythological gures associated with the sea and war, while the coach

of the Oceans, depicting the allegory of the seasons of the year and the link between the

Atlantic and Indian Oceans, evokes the rounding of the Cape of Good Hope.

MUSEUMOF ANCIENT ART

Mafras grandeur on the Roman Lisboa itinerary is

matched by the size, diversity and signicance of the

collections in the National Museum of Ancient Art (7),

which make it one of the worlds great museums.

Here one can admire the most important collection

of Portuguese classical painting, in particular that ofthe 15th and 16th Centuries, as well as a signicant

exhibition of international painting and works pro-

duced by the diaspora.

ty to expand knowledge and create a grandiose image of Portugal in the world.

Hence his admiration for the Roman model, reected in the application to the

Pope (granted) for the elevation of Lisboa to the status of a Patriarchate i.e.

for the Archbishop of Lisboa to become one of the three western Patriarchs,

along with those of Rome and Venice. His fascination with Rome brought art,

funded by the gold from Brazil. By employing the most respected artists from

Italy, France and Germany and using the best materials, King D. Joo V was able

to sponsor culture on a massive scale, the results of which can still be seen by

visitors today as they tour the capital.


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WALKS

MAFRA PALACE, BASILICAAND MONASTERY 1

The greatest artistic undertaking of the reign of K ing D. Joo V is situated in Ma-

fra, covering an area of 40 thousand m2 and comprising a basilica, a monastery to

house 300 monks and a palace, originally designed according to the Roman model

by Carlo Fontana and Joo Frederico Ludovice. One of the largest ever construc-

tions in Europe, of excellent quality and aesthetic unity, it took 20 years to build. At

the centre of the faade the basilica is anked by the wings of the palace, which

are connected by the Blessing Room (for the King, accompanied by the cardinal

patriarch, to bless the population, as at St. Peters Basilica in Rome). The rear of the

monastery leads directly to the royal hunting park. The project was continued in the

second half of the 18th Century with the building of the library, where the collec-

tion of over 40 thousand books were intended to be studied by the Canons Regular

of St. Augustine, who were housed in the monastery at this time.

The interior is enriched by the best Portuguese and Italian marble and the main Ital-

ian masters of the period were commissioned to paint the basilica. The interior and

front faade of the basilica were also decorated with large sculptures commissioned

from 25 Italian artists. The total of 58 sculptures, two reliefs and a crucix, produced

between 1724 and 1734, represent the most important collection of Baroque sculp-

ture in Portugal.

One of the Roman sculptors whose work is to be found in Mafra, Bernardo Ludovisi,also produced a bas-relief for the Chapel of So Joo Baptista in the Church of So

Roque (4) in Lisboa and a piece for the gardens of the Belm Palace (5) now in

theTropical Botanical Garden (6) which is a representation of the Caritas Romana

(Roman Charity) allegory.

CHAPEL OF SO JOO BAPTISTAST. JOHN THE BAPTIST

One of King D. Joo Vs commissions was a chapel invoking St. John the Baptist for the Church

of So Roque (4). Luigi Vanitelli was the designer of the project, which uses sumptuous materi-

als such as marbles, lapis lazuli, porphyry, jasper, bronzes and mosaics. The work was carried out

entirely in Rome and sent to Lisboa to be assembled. It was completed in 1750, when King D.

Joo V was already dead. The chapel also contains gold items by the best Roman masters, as

well as a fabulous collection of liturgical vestments, some of them embroidered with gold and

silk thread.

Indeed, the liturgical ceremonies of the time rivalled those of the Pope in Rome. Part of the col-

lection can be admired in theTreasuryMuseum at the S Cathedral in Lisboa (8) and at the

Museum of Ancient Art (7), such as the pair of candlesticks and a chalice, commissioned by D.

Toms de Almeida, the rst Cardinal Patriarch of Lisboa.

The close relationship between the Portuguese court and the Roman artists continued after

the Kings death, in particular with a major commission of painting from Pompeo Batoni forseven side chapels and the chancel of the Estrela Basilica (9), ordered by Queen D. Maria Pia.

Mafras astronomical numbers

Total area: 40,000m2

Main faade (length): 232m

Palace-Monastery:

Rooms: 880

Cells: over 300

Doors/Windows: 4,500

Stairways: 154

Courtyards: 29

Basilica:

Nave: 70m

Transept: 43m

Towers: c. 70m

Dome: c. 70m

Organs: 6

Carillons: 2 of 54 and 56 bells, weighing a total

of 217 tonnes

Marble sculptures: 468

Library: Length: 83.5m

Collection: 40,000 volumes and over 1,000 manuscripts


37/52

36_37

BOTANICAL GARDENThe Tropical Botanical Garden (6), or Colonial Garden, was cre-

ated in 1906, but it was only transferred to Belm six years later.

The arboretum and small vegetable garden at King D. Joos pal-

ace gradually became a laboratory for testing and growing trees,

tobacco, herbs, spices and oils from the colonies of Macao, Goa,

Brazil, Mozambique and Angola. It can be seen from the large lake,

nestling among lawns and leafy trees, along with a small island

with an orchard containing species from Africa. Also well worth

a visit are the greenhouses, one of them heated, at the top of a

ight of steps, between two ne examples of 18th-Century Italian

sculpture, Giuzeppe Mazzuolis Death of Cleopatra and Bernardi-

no Ludovisis Caritas Romana (Roman Charity).


38/52

While trade led to closer relations

between Lisboa and Flanders,

Flemish art and crafts gained rapid

popularity in the late 16th Century,

on the eve of the period known as

the Spanish captivity. The Flemish

style in painting, sculpture, tapestryand ceramics is very evident in

various monuments.

A FLEMISHNATION IN LISBOA

Lisboas importance as a European metropolis and centre of the develop-

ment of globalisation explains its capacity to attract so many merchants

in quest of the opportunities and privileges granted by the kingdom since

1433.

Besides merchants, many Flemish craftsmen of various trades printers,

booksellers, mechanics, clerics, musicians and intellectuals took up resi-

dence in the city. The Flemish community was organised, represented by

an elected consul, and the socio-religious element was reected in the Con-

vent of Nossa Senhora da Quietao (Our Lady of Stillness) (1), founded

to house the Clarissa nuns eeing the religious conicts in Flanders. In

architectural terms, what could be described as the Flemish nation, espe-

cially since the late 16th Century, is clearly in evidence in the arches built

to celebrate the entry into Lisboa of the Spanish Kings Philip II (in 1580)

and Philip III (in 1619).


39/52

WALKS

38_39

Trade led to cultural interaction, with the Portuguese market throwing its doors

open to Flemish aesthetic style. The ow of exports such as olive oil, Mediterra-

nean fruits, spices, salt, sugar, precious wood and stones was complemented by

the ow of imports, including tapestries, oil paintings, books and sculptures, but

also human capital. Besides the works of art, the artists and craftsmen themselves

came to Lisboa, making a signicant contribution to the cultural wealth of pal-aces, convents and churches.

Today it is possible to admire 15th- and 16th-Century Flemish works of art and

various museums in Lisboa.

One of the pioneers in opening up Portugal to Flemish art was Jan van Eyck, who

travelled to Portugal to paint the portrait of the Infanta Isabel, daughter of King

D. Joo I, on the occasion of her wedding to Philip, Duke of Burgundy and Count

of Flanders, in 1430.

Portuguese commissions of paintings ourished in the 15th Century and the vi-

brant artistic production included Hans Memlings Virgin and Child for theConvent

of Jesus in Setbal (2), Quentin de Metsys Our Lady of the Sorrows, ordered by

Queen D. Leonor, wife of King D. Joo II, for the Convent of Madre de Deus (3), the

drawings for the tapestries of D. Joo de Castro and the Descent from the Cross

triptych, by Pieter Coeck van Aelst.

From canvas to stone, the many painted and gilt wooden sculptures reached Lis-

boa with the mass production methodology already having been implemented

in the workshops of Flanders. But the Christ on the Cross in the upper quire, by the

Flemish engraver Philippe de Vries, is a sculpture of great artistic quality, present-

ed by the Infante D. Lus, son of King D. Manuel, to the Jernimos Monastery (4).

Textiles and tapestries from Flanders were highly appreciated in the decoration

of the interiors of Portuguese palaces and churches, but also for enriching the

city on feast days. This artistic blend of the religious and profane is preserved by

the windows, platforms and even the Tagus boats, when they were adorned with

cloth hangings, tapestries and quilts at festival times.

An example of these can be admired at the Calouste Gulbenkian Museum (5), afabulous tapestry made of wool, silk and gold and based on one of the themes of

Ovids Metamorphoses the tale of Vertumnus and Pomona. The permanent ex-

hibition at the Museum of Ancient Art (6) has a tapestry of the Battle of Hercules

with the Centaurs, where the Italian inuence is very marked. Vasco da Gamas

arrival in India, too, was the occasion for a famous commission for the tapestries

in the style of Portugal and India from King D. Manuel I. Examples of these can

be seen at the Museu de Marinha (Maritime Museum) (7) and at the Ricardo Es-

prito Santo e Silva Foundation (8). The enthusiastic consumption of art in Lisboa

in the 16th Century also brought many Flemish ceramicists to the city, where they

set up their workshops in districts like Madragoa (9).

In the second half of the 16th Century, the Italian and Flemish inuence in ar-

chitecture and sculpture found a symbol in Jernimo de Ruo, who was respon-

sible for the transept of the Jernimos Monastery, the chapel of the Most Holy

Sacrament of the Igreja da Conceio Velha (Old Church of Our Lady of the

Conception) (10) and the Igreja da Luz (Church of Our Lady of Light) (11). These

monuments are all notable for the elegance of the Flemish technique, such as the

geometric panels executed in stones of various colours, which have a majestic

decorative eect.


40/52

5 OCEANOSDoca de Santo Amaro, Armazm 121350-353 LISBOA

T: +351 213 978 015F: +351 213 950 073E: [email protected]

ATIRA-TE AO RIOCais do Ginjal, 69/702800-284 CACILHAS

T: +351 212 751 380F: +351 212 751 380E: [email protected]: www.atirateaorio.pt

A COMMENDACentro Cultural de Belm P. do Imprio1499-003 LISBOA


GUA E SALOceanrio de Lisboa Esplanada Dom Carlos IDoca dos Olivais1990-005 LISBOA


ALECRIM S FLORESTravessa do Alecrim, 41200-019 LISBOA

T: +351 213 225 368

F: +351 213 431 600E: [email protected]: www.alecrimasores.com

ATANVR. da Pimenta, 43/451990-254 LISBOA

T: +351 218 950 480F: +351 218 950 484E: [email protected]: www.parquedasnacoes.pt/pt/restauracao/

BICA DO SAPATOAv. Infante Dom Henrique Cais da Pedra aSanta Apolnia B1900 LISBOA


W: www.luxfragil.com/bicasapato/bica_beta.html

BOCCA RESTAURANTE-BARRua Rodrigo da Fonseca, 87 D1250-190 LISBOA

T: +351 213 808 383F: +351 213 808 387E: [email protected]: www.bocca.pt

CAF PLAZAHotel Lisboa Plaza - Tv. do Salitre, 71269-066 LISBOA

T: +351 213 218 218F: +351 213 471 630E: [email protected]: www.heritage.pt

CAF IN

Av. Braslia, Pavilho Nascente, 3111300-123 LISBOA

T: +351 213 626 248F: +351 213 625 999E: [email protected]: www.gastronomias.com/caf-in

CAF MARTINHO DA ARCADAP. do Comrcio, 31100-148 LISBOA


CAPRICCIOSAR. Joo Oliveira Miguens, 48, Alcntara1350-187 LISBOA

T: +351 213 955 977F: +351 213 942 419E: [email protected]: www.capricciosa.com.pt

CAPRICCIOSA D.O.C PIZZARIAPasseio das Tgides, Lt. 2.26.01Parque das Naes1990-280 LISBOA


CASA DA DZIMAR. da Costa Pinto, 172770-046 PAO DARCOS

T: +351 214 462 965F: +351 214 462 984E: [email protected]: www.casadadizima.com

CASA DO BACALHAUR. do Grilo, 541900-706 LISBOA


W: www.acasadobacalhau.restaunet.pt

CASA MXICOAv. Dom Carlos I, 1401200-651 LISBOA

T: +351 213 974 790F: +351 213 975 390E: [email protected]: www.casamexico.pt

CASA MXICOMarina de Cascais, loja 27 A2750-000 CASCAIS

T: +351 214 818 010F: +351 213 975 390E: [email protected]: www.casamexico.pt

CERVEJARIA SOLMARRua das Portas de Santo Anto, 106

1150-269 LISBOAT: +351 213 423 371F: +351 213 460 346E: [email protected]: www.solmar.com.pt

DOCA DE SANTODoca de Santo Amaro, Armazm CP1350-353 LISBOA

T: +351 213 963 535F: +351 213 942 419E: [email protected]: www.docadesanto.pt

DOCA PEIXEDoca de Santo Amaro,Armazm 141350-353 LISBOA

T: +351 213 973 565F: +351 213 973 477

E: [email protected]: www.docapeixe.com

DON POMODORODoca de Santo Amaro, Armazm 131350-353 LISBOA

T: +351 213 909 353F: +351 213 909 354E: [email protected]: www.donpomodoro.com

ELEVENR. Marqus de FronteiraJardim Amlia Rodrigues1070 LISBOA

T: +351 213 862 211F: +351 213 862 214E: [email protected]: www.restauranteleven.com

ESPAO LISBOAR. da Cozinha Econmica, 16/281300-149 LISBOA


HARD ROCK CAFAv. da Liberdade, 21250-144 LISBOA

T: +351 213 245 280F: +351 213 245 288E: [email protected]: www.hardrock.com

IBO RESTAURANTEArmazm A, Compartimento 2Cais do Sodr1200-450 LISBOA

T: +351 213 423 611E: [email protected]: www.ibo-restaurante.pt

IMPRIO DOS SENTIDOSR. da Atalaia, 35/37Bairro Alto1200-037 LISBOA

T: +351 213 431 822E: [email protected]

IRISH.COR. da Pimenta, 57Parque das Naes1990-280 LISBOA

T: +351 218 940 558F: +351 218 940 560E: [email protected]: www.irishco.com.pt

IRISH.CODoca de Santo Amaro,Edif. Topo Nascente1350-353 LISBOA

T: +351 213 959 885

F: +351 213 942 419E: [email protected]: www.irishco.com.pt

LA CAFF AV. LIBERDADEAv. da Liberdade,129 B 11250-140 LISBOA

T: +351 213 256 736F: +351 217 986 417E: [email protected]: www.lanidor.com

LA CAFF CAMPO GRANDECampo Grande, 3 B1700-087 LISBOA

T: +351 217 986 418F: +351 217 986 417E: [email protected]: www.lanidor.com

LISBOA NOITERua das Gveas, 691200-206 LISBOA

T: +351 213 468 557T: +351 213 460 222E: [email protected]: www.lisboanoite.com

MEGAVEGAR. dos Sapateiros, 1131100-577 LISBOA

T: +351 213 468 063E: [email protected]: www.megavega.pt

MERCY BRASSERIERua da Misericrdia, 781200-273 LISBOA

T: +351 213 479 232

F: +351 213 431 600E: [email protected]: www.mercybrasserie.com

NCTAR WINE BARR. dos Douradores, 331100-203 LISBOA

T: +351 912 633 368E: [email protected]: www.nectar-winebar.com

NUNES REALMARISQUEIRAR. Bartolomeu Dias,120 Lt. D 1, r/c1400-031 LISBOA

T: +351 213 019 899F: +351 213 019 899E: [email protected]: www.nunesrealmarisqueira.com

OH COD!Rua Correia Garo, 31200-640 LISBOA


O SITAR - INDIANR. dos Condes, 71150-110 LISBOA

T: +351 213 430 004W: www.ositar.com

PASTELARIA MEXICANAAv. Guerra Junqueiro, 30 C1000-167 LISBOA

T: +351 218 486 117F: +351 218 488 462E: [email protected]: www.pastelariamexicana.pt

PASTELARIA SUIAP. Dom Pedro IV, 96/1011100-202 LISBOA

T: +351 213 214 090F: +351 213 214 099E: [email protected]: www.casasuica.pt

REAL FBRICAR. da Escola Politcnica, 2751250-101 LISBOA

T: +351 213 852 090F: +351 213 872 919E: [email protected]: www.realfabrica.pt

REPBLICA DA CERVEJAPasseio das Tgides, lote 2.26.01Parque das Naes1990-280 LISBOA

T: +351 218 922 590F: +351 213 942 419

E: [email protected]: www.republicacerveja.pt

RESTAURANTE A TRAVESSATv. do Convento das Bernardas, 121200-687 LISBOA

T: +351 213 902 034F: +351 213 940 839E: [email protected]: www.atravessa.com

RESTAURANTE AD-LIBHotel Sotel Lisbon LiberdadeAv. da Liberdade, 1271269-038 LISBOA

T: +351 213 228 350F: +351 213 228 310E: [email protected]: www.restauranteadlib.com.pt

RESTAURANTE AVIZHotel AvizR. Duque de Palmela, 321250-098 LISBOA

T: +351 210 402 000F: +351 210 402 199E: [email protected]: www.hotelaviz.com

RESTAURANTE BONSAIFontana Park HotelRua Eng. Vieira da Silva, 21050-105 LISBOA

T: +351 210 410 600F: +351 213 579 244E: [email protected]: www.fontanaparkhotel.com

RESTAURANTE CASA DO LEOCastelo de So Jorge

1100-129 LISBOAT: +351 218 880 154/875 962F: +351 218 876 329W: [email protected]: www.pousadas.pt

RESTAURANTE COZINHA VELHAPousada de Queluz Dona Maria ILg. do Palcio2745-191 QUELUZ

T: +351 214 350 232F: +351 214 356 189W: [email protected]: www.pousadas.pt

RESTAURANTE DO TEATROHotel NH LiberdadeAv. da Liberdade, 180 B1250-146 LISBOA

T: +351 213 514 060

F: +351 213 143 674E: [email protected]: www.nh-hotels.com

RESTAURANTEESPALHA BRASASDoca de Santo Amaro, Armazm 91350-353 LISBOA

T: +351 213 962 059F: +351 213 969 177E: [email protected]: www.espalhabrasas.eu

RESTAURANTE ESTUFA REALC. do GalvoJardim Botnico da Ajuda1400 LISBOA

T: +351 213 619 400F: +351 213 619 018E: [email protected]: www.estufareal.com

RESTAURANTE FAZ FIGURAR. do Paraso, 15 B1100-396 LISBOA

T: +351 218 868 981F: +351 218 822 103E: [email protected]: www.fazgura.com


41/52

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RESTAURANTS

RESTAURANTE LAS BRASITASDoca de Santo Amaro, Armazm 161350-353 LISBOA


RESTAURANTE PAPAORDAR. da Atalaia,57/59 Bairro Alto1200-037 LISBOA

T: +351 213 464 811F: +351 213 423 765

RESTAURANTE SALDANHA MAR

Fontana Park HotelRua Eng. Vieira da Silva, 21050-105 LISBOA

T: +351 210 410 600F: +351 213 579 244E: [email protected]: www.fontanaparkhotel.com

RESTAURANTE SOL DOURADOR. Jardim do Regedor, 21/251150-183 LISBOA


RESTAURANTE TGIDELargo da Academia Nacional de BelasArtes, 18/20Chiado1200-005 LISBOA

T: +351 213 404 010F: +351 213 404 019E: [email protected]: www.restaurantetagide.com

RESTAURANTE TAVARESR. da Misericrdia, 35 R/C1200-270 LISBOA

T: +351 213 421 112F: +351 213 478 125E: [email protected]: www.tavaresrico.pt

RESTAURANTE TEATRO TIVOLI CAFFAvenida da Liberdade, 1361250-166 LISBOA

T: +351 210 737 240F: +351 214 114 832E: [email protected]: www.casadomarques.pt

RESTAURANTE TERREIRO DO PAOP. do Comrcio1100-148 LISBOA

T: +351 210 312 850F: +351 210 312 859E: [email protected]: www.terreiropaco.com

RESTAURANTE TPICOO MADEIRENSECentro Comercial Amoreiras, Lj. 3026/71070-104 LISBOA

T: +351 213 830 827F: +351 213 813 148E: [email protected]: www.omadeirense.pt

RESTAURANTE UAICais da Rocha de Conde de bidos

Armazm 1141350-352 LISBOA

T: +351 213 900 111F: +351 213 860 880E: [email protected]: www.uai.pt

RESTAURANTE VALLE FLORPestana Palace HotelR. Jau, 541300-314 LISBOA

T: +351 213 615 600F: +351 213 615 625E: [email protected]: www.pestana.com

SENHOR PEIXERua da Pimenta, 35/371990-096 LISBOA

T: +351 218 955 892F: +351 213 881 971E: [email protected]: www.senhorpeixe.pt

SOLAR DO DUQUERua do Duque, 67-691250-158 LISBOA


SPOT LXCasino LisboaAlameda dos Oceanos, Lt. 1.03.01Parque das Naes1990-274 LISBOA

T: +351 218 960 094F: +351 218 942 189E: [email protected]: www.evolucaogastronomica.com

SUSHIRIOR. da Cintura do Porto de Lisboa Armazm 2551200-109 LISBOA


TERTLIA DO TEJODoca de Santo Amaro, Pavilho 41350-353 LISBOA


TROMBA RIJAR. Cintura do Porto de Lisboa,Edif. 254, Arm. I1200-109 LISBOA

T: +351 213 971 507F: +351 213 971 203E: [email protected]: www.trombarija.com

WRST O REI DAS SALSICHASRua do Arsenal, 821100-040 LISBOA



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ALLARTS GALLERYRua da Misericrdia, 301200-000 LISBOA

T: +351 217 951 034E: [email protected]: www.allartsgallery.net

CAMARA DOS AZUIS ARTEE ANTIGUIDADESAV. Elias Garcia, 157 A/B1050-099 LISBOA

T: +351 217 940 163F: +351 217 941 445E: [email protected]: www.camaradosazuis.com

CASA-MUSEU DA FUNDAOMEDEIROS E ALMEIDAR. Rosa Arajo, 411250-194 LISBOA

T: +351 213 547 892F: +351 213 561 951E: [email protected]: www.fundacaomedeirosealmeida.pt

CASA-MUSEU DR. ANASTCIO GONALVESAv. 5 de Outubro, 6/81050-055 LISBOA

T: +351 213 540 823F: +351 213 548 754E: [email protected]: www.cmag-ipmuseus.pt

CASA-.MUSEU MESTRE JOO DA SILVAR. Tenente Raul Cascais, 11 R/C1250-268 LISBOA

T: +351 213 961 396F: +351 213 961 396(Temporariamente encerrado)

CENTRO CIENTFICO E CULTURALDE MACAUR. da Junqueira, 301300-343 LISBOA

T: +351 213 617 570F: +351 213 617 598E: [email protected]: www.cccm.pt

CENTRO DE ARTE MODERNAJOS AZEREDO PERDIGOR. Dr. Nicolau de Bettencourt1050-078 LISBOA

T: +351 217 823 474F: +351 217 823 037E: [email protected]: www.gulbenkian.pt

CENTRO MUSEOLGICO E DOCUMENTALDA RDIO E TELEVISOAv. Marechal Gomes da Costa, 371849-030 LISBOA

T: +351 213 950 762F: +351 213 957 149E: [email protected]: www.rdp.pt/geral/museu/index.htm(Temporariamente encerrado)

FUNDAO CULTURSINTRAQuinta da Regaleira2710 SINTRA


FUNDAO DA BATALHA DE ALJUBARROTAAv. D. Nuno lvares Pereira, 120, S. Jorge2480-062 CALVARIA DE CIMA

T: +351 244 480 060F: +351 244 480 061E: [email protected]: www.fundacao-aljubarrota.pt

FUNDAO RICARDOESPRITO SANTO SILVALg. das Portas do Sol, 21100-411 LISBOA

T: +351 218 814 600F: +351 218 814 638E: [email protected]: www.fress.pt

MOSTEIRO DOS JERNIMOSP. do Imprio1400-206 LISBOA

T: +351 213 620 034F: +351 213 639 145E: [email protected]: www.mosteirojeronimos.pt

MUSEU ARQUEOLGICO DO CARMOLg. do Carmo - Runas do Conventodo Carmo1200-092 LISBOA


MUSEU COLECO BERARDOCentro Cultural de BelmPraa do Imprio1449-003 LISBOA

T: +351 213 612 400F: +351 213 612 570E: [email protected]: www.museuberardo.pt

MUSEU DA FARMCIAR. Marechal Saldanha, 11249-069 LISBOA

T: +351 213 400 680F: +351 213 472 994E: [email protected]: www.anf.pt

MUSEU DA MSICAEstao de Metropolitano do Alto dosMoinhosR. Joo de Freitas Branco1500-359 LISBOA

T: +351 217 710 991F: +351 217 710 999E: [email protected]: www.museudamusica-ipmuseus.pt

MUSEU DA PRESIDNCIA DA REPBLICAP. Afonso de Albuquerque1349-022 LISBOA

T: +351 213 614 660F: +351 213 614 764E: [email protected]: www.museu.presidencia.pt

MUSEU DAS COMUNICAESR. do Instituto Industrial, 161200-225 LISBOA

T: +351 213 935 159F: +351 213 935 006E: [email protected]: www.fcp.pt

MUSEU DA CERA DE FTIMAR. Jacinto Marto2495-450 FTIMA

T: +351 249 539 300F: +351 249 539 301E: [email protected]: www.mucefa.pt

MUSEU DE MARINHAP. do Imprio1400-206 LISBOA

T: +351 213 620 019F: +351 213 631 987E: [email protected]: www.museumarinha.pt

MUSEU DE SO ROQUELargo Trindade Coelho1200-470 LISBOA

T: +351 213 235 065F: +351 213 235 401E: [email protected]: www.museu-saoroque.com

MUSEU DO ORIENTEAvenida de Braslia,Doca de Alcntara Norte1350-362 LISBOA

T: +351 213 585 200F: +351 213 527 042E: [email protected]: www.museudooriente.pt

MUSEU DA LIGA DOS COMBATENTESRua Joo Pereira da Rosa, 181249-032 LISBOA

T: +351 213 468 245F: +351 213 463 394E: [email protected]: www.ligacombatentes.org.pt

MNAC - MUSEU DO CHIADOR. Serpa Pinto, 41200-444 LISBOA

T: +351 213 432 148F: +351 213 432 151E: [email protected]: www.museudochiado-ipmuseus.pt

MUSEU MILITARLg. de Santa Apolnia1196 LISBOA

T: +351 218 842 568F: +351 218 842 556E: [email protected]: www.geira.pt/mmilitar

MUSEU NACIONALDE ARQUEOLOGIAP. do Imprio1400-206 LISBOA

T: +351 213 620 000F: +351 213 620 016E: [email protected]: www.mnarqueologia-ipmuseus.pt

MUSEU NACIONAL DE ARTE ANTIGAR. das Janelas Verdes1249-017 LISBOA

T: +351 213 912 800F: +351 213 973 703E: [email protected]: www.mnarteantiga-ipmuseus.pt

MUSEU NACIONAL DE E TNOLOGIAAv. Ilha da Madeira1400-203 LISBOA

T: +351 213 041 160F: +351 213 013 994E: [email protected]: www.mnetnologia-ipmuseus.pt

MUSEU NACIONAL DO AZULEJOR. da Madre de Deus, 41900-312 LISBOA

T: +351 218 100 340F: +351 218 100 369E: [email protected]: www.mnazulejo-ipmuseus.pt

MUSEU NACIONAL DO TEATROEst. do Lumiar, 10/121600-495 LISBOA

T: +351 217 567 410F: +351 217 575 714E: [email protected]: www.museudoteatro-ipmuseus.pt

MUSEU NACIONAL DO TRAJELg. Jlio de Castilho1600-483 LISBOA

T: +351 217 590 318F: +351 217 591 224E: [email protected]: www.museudotraje-ipmuseus.pt

MUSEU NACIONAL DOS COCHESP. Afonso de Albuquerque1300-004 LISBOA

T: +351 213 610 850F: +351 213 637 246E: [email protected]: www.museudoscoches-ipmuseus.pt

PALCIO NACIONAL DA AJUDA MUSEULg. da Ajuda1349-021 LISBOA

T: +351 213 620 264F: +351 213 648 223E: [email protected]: www.ippar.pt

PALCIO NACIONAL DE MAFRAPalcio Nacional de Mafra2640-492 MAFRA

T: +351 261 817 550F: +351 261 811 947E: [email protected]: www.ippar.pt/monumentos

/palacio_mafra.html

PALCIO NACIONAL DE QUELUZLg. do Palcio2745-191 QUELUZ


/palacio_queluz.html

PALCIO NACIONAL DE SINTRALg. Rainha Dona Amlia2710-616 SINTRA


/palacio_sintra.html

PAVILHO DO CONHECIMENTOCINCIA VIVAParque das Naes Alam. dos Oceanos1990-223 LISBOA

T: +351 218 917 100F: +351 218 917 171E: [email protected]: www.pavconhecimento.pt

TAPAD

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