Queluz National Palace - see Pictures
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The Queluz National Palace is a Portuguese 18th-century palace located at Queluz, in the District of Lisbon. One of the last great Rococo buildings to be designed in Europe, the palace was conceived as a summer retreat for Dom Pedro of Braganza, later to become husband and then king consort to his own niece, Queen Maria I. It served as a discreet place of incarceration for Queen Maria as her descent into madness continued in the years following Dom Pedro's death in 1786.
Following the destruction by fire of the Ajuda Palace in 1794,
Queluz Palace became the official residence of the Portuguese prince
regent, John VI, and his family and remained so until the Royal
Family fled to Brazil in 1807 following the French invasion of
Portugal.
Work on the palace began in 1747 under the architect Mateus
Vicente de Oliveira. Despite being far smaller, the palace is often
referred to as the Portuguese Versailles. From 1826, the palace
slowly fell from favor with the Portuguese sovereigns. In 1908, it
became the property of the state. Following a serious fire in 1934,
which gutted the interior, the palace was extensively restored, and
today is open to the public as a major tourist attraction.
One wing of the palace, the Pavilion of Dona Maria, built between
1785 and 1792 by the architect Manuel Caetano de Sousa, is now a
guest house allocated to foreign heads of state visiting Portugal.
Architecture and history
Queluz's architecture is representative of the final extravagant period of Portuguese culture that followed the discovery of Brazilian gold in 1690. From the beginning of the 18th century many foreign artists and architects were employed in Portugal to satisfy the needs of the newly enriched aristocracy; they brought with them classical ideas of architecture which derived from the Renaissance. In its design, Queluz is a revolt against the earlier, heavier, Italian-influenced Baroque which preceded the Rococo style throughout Europe.
Comparisons with the far larger and more Baroque Versailles are
unwarranted: Versailles is referred to as having "an aura of
majesty" and it was built and dedicated to exhibit in stone "all the
glories of France," whereas the far smaller palace at Queluz has
been described as "exquisite rather than magnificent" and looking
like "a very expensive birthday cake". In its frivolity, the
architecture of Queluz reflects the lifestyle led by the Portuguese
royal family at the time of building: during the reign of Dom
Pedro's brother, Joseph I, when Portugal was in practice governed by
a valido or favorite, the Marquis of Pombal. Pombal encouraged the
royal family to while away their days in the country and leave
affairs of state to him. Thus the extravagant, almost whimsical
architecture of Queluz, set apart from the capital city, exactly
represents the politics and social events of Portugal during this
era, and the carefree and flamboyant lives led by its occupants.
Queluz's role as a haven for those without responsibility was,
however, to be short-lived.
On the accession to the throne of Dom Pedro's wife Maria in 1777,
Pombal was dismissed, and Dom Pedro and Maria ruled jointly in his
place, using the partially completed Rococo palace at Queluz as a
retreat from affairs of state. Frederick the Great used Europe's
other famed Rococo palace, Sanssouci, in much the same way.
The site chosen for this summer retreat was in a secluded hollow. It
had originally been owned by the Marques of Castelo Rodrigo. When
the ruling Spanish were driven from Portugal in 1640, the property
was confiscated, and Rodrigo was accused of having collaborated with
the Spanish. The estate and its hunting lodge then became one of the
many properties of the Portuguese king, Joo IV. He set it aside as
one of the properties reserved for the second son of the reigning
monarch. Thus it came into the hands of Dom Pedro, the second son of
João V.
The architect, Mateus Vicente de Oliveira, had trained under
Ludovice of Ratisbon and Jean Baptiste Robillon during the
construction of the royal palace and convent of Mafra. The more
somber and massive classical palace at Mafra does not appear to have
influenced the design for Queluz, which is in a lighter, more airy
style. Work began in 1747 and continued rapidly until 1755, when it
was interrupted by the Great Earthquake of 1755, after which the
laborers were more urgently required for the reconstruction of the
city. The earthquake proved to be a catalyst, because the urban
rebuilding process stimulated the development of the arts in
Portugal. The subsequent architecture of Queluz was influenced by
new ideas and concepts. When work recommenced in 1758, the design
was adapted for fear of another earthquake. Thus the later works
take the form of low, long buildings, more structurally stable than
a single high block: as a result, viewed from a distance the palace
resembles long enfilades linked by higher pavilions rather than one
single construction.
In 1760, Pombal arranged for Dom Pedro to marry the king's unstable
daughter Maria, the heiress to the throne. Pombal encouraged the
couple to live with their children in the unfinished palace at
Queluz, away from the seat of government. It had always been a
favorite retreat of the couple and was their principal home before
Maria's accession. Further enlargements were made to reflect the
palace's elevation from country retreat to royal palace.
By the death of Dom Pedro in 1786, all the interior work was completed. This was fortunate, as from this period his widow's mental health deteriorated, until in 1794, she and her court took up official and full-time residence at Queluz. There the now completely insane Queen could be hidden from the view of her subjects. Her eldest son, later King João VI, was appointed Regent and ruled from Lisbon and the great palace at Mafra.
By an unknown architect, the façade of the ballroom wing with its
ogee arch is reminiscent of Borromini. This wing with its varying
rooflines and swooping pediments illustrates the palace's appearance
as a series of pavilions and wings rather than one large mass. To
the left can be seen the five-stage campanile with floral finials in
the town square beyond the cour d'honneur.
By an unknown architect, the façade of the ballroom wing with its
ogee arch is reminiscent of Borromini. This wing with its varying
rooflines and swooping pediments illustrates the palace's appearance
as a series of pavilions and wings rather than one large mass. To
the left can be seen the five-stage campanile with floral finials in
the town square beyond the cour d'honneur.
Interior
The interior of the palace received no less attention to detail
and design than the exterior. French artisans were employed to
decorate the rooms, many of which are small, their walls and
ceilings painted to depict allegorical and historical scenes.
Polished red bricks were frequently used for the floors, for a
rustic appearance as well as coolness in hot weather. The many tall
pavilions which link the various lower wings of the palace allow for
a series of long low rooms broken by higher and lighter rooms. A
predominant feature of the interiors are the azulejos: polychrome
glazed tiles, often in a chinoiserie style with tones of blues and
yellows contrasting with muted reds. Materials for use on the
interior included stone imported from Genoa and woods from Brazil,
Denmark and Sweden, while colored marbles were imported from Italy.
Many of the palace's rooms were severely damaged by fire in 1934.
The Sala das Mangas
The Sala das Mangas (the only room in the state apartments to
fully survive the 1934 fire) is a long gallery lined with tiled wall
panels. The gallery leads to the enfilade of state rooms, all of
which have been fully restored. The formal rooms of the palace
consist of three large halls: The Hall of Ambassadors, The Music
Room and the Ball Room. Other smaller rooms include the Gun Room
(where hunting parties would assemble), which is a frescoed salon
painted with trees and foliage by Pillement.
The Hall of Ambassadors
The Hall of Ambassadors ("Sala dos Embaixadores"), sometimes
called the throne room or the Hall of Mirrors, was designed by
Robillon in 1757 and is one of the largest reception rooms in the
palace. This long low room has a ceiling painted by Francisco de
Melo which depicts the Portuguese royal family attending a concert
during the reign of Queen Maria I. The room is extremely wide and
light, spanning the full width of the palace, with tall windows on
both sides. Between each window is a semi-circular gilt console
table above which are pier glasses adorned with crystal sconces. The
throne dais, set in an apse, is flanked by gilded and mirrored
columns, and the floor is a chequer board pattern of black and white
marble tiles.
The Music Room
The Music Room which follows the "Sala dos Embaixadores" is
decorated with gilded and painted wood and was redesigned in 1768.
The ceiling inset with painted cartouches is notable for the
intricate ribbed scheme of its design, similar to that of the
vestibule at Caserta. The Music Room is decorated in a more
neoclassical style than the other state rooms, reflecting its
redesign in the period following the Baroque Rococo in the final
half of the 18th century. This room was the setting for the large
concerts for which the palace was famous. The room still contains
the Empire grand piano decorated with gilt appliqués. Above the
piano hangs a state portrait of Maria I. Like many other rooms of
the palace, the Music Room is lit by huge crystal chandeliers.
The Ball Room
The Ballroom, the last of the palace's three largest rooms, was
designed by Robillon in 1760. To create this oval room the architect
combined five smaller rooms. The ormolu Rococo ornament takes the
form of heavy gilding to the walls and ceiling, of such richness
that it has been compared with that of Franois de Cuvillis'
Amalienburg at Schloss Nymphenburg. The walls and doors are mirrored
and the painted and gilded, coffered ceiling is supported by golden
caryatids.
The Chapel
During the occupancy of the palace by Dom Pedro and Maria I, the chapel was central to the daily routine of their court. It was no coincidence that the chapel was the first part of the palace to be completed and was consecrated as early as 1752. Religion was one of Dom Pedro's favorite interests. During the reign of his wife he attended to matters spiritual and she to matters temporal. The Queen's interest in religion was, however, no less fevered than that of her husband—the couple attended mass several times a day. Following Dom Pedro's death, the Queen abandoned all festivities at the palace, and state receptions assumed the air of religious ceremonies. Finally the Queen's instability and religious mania degenerated into complete insanity. Queluz and its chapel then became her permanent retreat from the world until she was forced to flee from the advancing French in 1807 to Brazil. She died there in Rio de Janeiro in 1816.
The chapel beneath its large onion dome is dark and cavernous and
decorated with carved gilt wood, the detailing highlighted in red,
green, blue and pink, by the Portuguese sculptor Silvestre Faria
Lobo. The upper level has galleries for the use of royal personages
who would sit apart from the congregation. One of these galleries
contains a small Rococo pipe organ. A feature of the chapel is the
ornate portable font, its marble basin resting in an elaborate
Rococo frame surmounted by a carved wood cover.
The private apartments
The private rooms of the palace are far smaller and more intimate
than the formal state rooms and contain many royal mementos and
curios which belonged to the rooms' former occupants. Amongst the
more remarkable rooms in this suite are the Sala das Merendas, the
Queen's Boudoir and the King's Bedroom.
Sala das Merendas
This was the royal family's private dining room. The decoration continues the theme used in some of the more formal and public rooms, with tiled panels illustrating courtiers in sylvan poses. These panels, like much other work in the palace, were produced by João Valentim and José Conrado Rosa.
The Queen's Boudoir
This was one of the private rooms used by Maria I during her
time
at Queluz. It is designed in the form of a bower, with a trellis
pattern on the ceiling which is reflected in the design of the
marquetry floor, giving the impression of being in a pergola rather
than an interior. The marquetry floors of the private rooms
distinguish these smaller more intimate rooms from the larger state
rooms where such delicate features would have been damaged by more
frequent use. The walls of the boudoir are heavily mirrored and
contain over door and mirror carouches by José Conrado Rosa. Next to
the boudoir is the Queen's bedroom; it was from this light and airy
room that the demented shrieks of the Queen were reported by William
Beckford, who visited the palace in 1794.
The King's Bedroom
The King's Bedroom has been described as one of the most "fantastic" rooms in the palace. It is completely circular, with a domed ceiling supported by columns of mirrored glass. Between the columns are cartouches depicting scenes from the tales of Don Quixote. Joo VI died in this room in 1826. The room contains a large bust of the King showing his "pendulous jowls and unattractive face".
Gardens
Queluz is famed for the glory of its gardens, which include a
large topiary parterre laid out in the manner of Le Nótre at the
rear of the palace. The Flemish influences, including the canals, in
the garden are the work of the Dutch gardener Gerald van der Kolk,
who assisted Robillon from 1760. Formal terraces and walkways are
given extra interest by statuary and fountains. The dominant feature
of the principal parterre is the "Portico dos Cavalinhos", a garden
temple flanked by two allegorical equestrian statues depicting
Fames, and two sphinxes (see final illustration) surreally dressed
in 18th-century costume, combining the formal and the fantastic.
This surreal theme continues elsewhere in the gardens where such
motifs as the rape of the Sabines and the death of Abel alternate
with statuary of donkeys dressed in human clothing. Deeper in the
gardens is a grotto complete with a cascade. Later to be a popular
feature in Portuguese gardens, the Queluz cascade was the first
artificial waterfall to be constructed near Lisbon.
An avenue of huge magnolias forms the approach to the classical Robillon wing of the palace, while from the wing a double staircase leads to the canal. More than 100 metres (330 ft) long, the walls of the canal are decorated with tiled panels depicting seascapes and associated scenes. This is the largest of a series of canals in the gardens bordered with chinoiserie-style azulejo tiles. Fed by a stream, the sluice gates to the canals are only opened in May. During the 18th century, the canals were the setting for the chapters during which fully rigged ships would sail in processions with figures aboard in allegorical costumes.
The gardens also contain a fountain with tritons and dolphins which has been attributed to Bernini. There are further fountains and statuary in the lower gardens, set within tall hedges of yew and cypress, and magnolia and mulberry trees planted by Marshal Junot during the French occupation in the Napoleonic wars.
Later history
Following a fire at the Ajuda Palace in 1794, the Prince Regent
John VI and his wife Carlotta Joaquina began to use Queluz
themselves. The Robillon wing was enlarged and given an upper floor
for the use of the princess and her nine children. These additions
were destroyed in the fire of 1934. To escape the forces of Napoleon
I in 1807, the Portuguese royal family abandoned Queluz and fled to
Brazil. The French occupational forces took control of the palace,
and their commander, Marshal Junot, made several alterations to the
building. On the royal family's return from exile in 1821, the King
preferred to live at Mafra, leaving his wife, the Spanish
Queen
Carlotta Joaquina, to occupy Queluz with her sister Princess Maria
Francisca Benedita. The King visited Queluz infrequently. It was on
one of these rare visits that João VI died in the circular domed
King's Bedroom in 1826.
Carlotta Joaquina, sometimes described as sinister, is said to
have been ambitious and violent. Her features were reportedly ugly,
and she was short in stature. Whatever her shortcomings she lived in
great style at Queluz, employing an orchestra which William Beckford
described as the finest in Europe. The Queen also had a small
private theatre in the gardens, of which nothing remains today. She
died at the palace in 1830.
Following the death of Carlotta Joaquina, Queluz saw only
intermittent use as a royal residence and was not again the primary
residence of Portuguese royals. Carlotta Joaquina's son King Miguel
used the palace during the three-year civil war which he fought
against his brother King Pedro IV, before being forced by his
brother in 1834 to abdicate and go into exile. A year later, Pedro
IV died of tuberculosis at the age of 35 at Queluz, the palace of
his birth. Pedro I's daughter Maria II ruled until her death in 1853
and was succeeded by her son Pedro V. Following his untimely death
in the cholera epidemic of 1861, the throne passed to his brother
Luís. From this time the royal family lived chiefly at the rebuilt
Ajuda Palace in Lisbon. On the assassination of Luís' son Carlos I
in 1908, the palace passed into the ownership of the state. Portugal
was in the turmoil of revolution and the monarchy fell two years
later.
National Monument
In the 21st century, the palace gardens, once an irrigated oasis in the centre of parched farmland, are bounded by the "Radial de Sintra" motorway which feeds traffic towards Lisbon and away from Sintra. However, transportation and tourism have been the saviors of the palace. Since 1940 it has been open to the public as a museum. It houses much of the former royal collection, including furniture, Arraiolos carpets, paintings, and Chinese and European ceramics and porcelain.
In 1957, the "Dona Maria Pavilion" in the palace's east wing was transformed into a guest house for visiting heads of state. Today the palace's principal rooms are therefore not simply museums, but the setting for official entertaining.
The town square that the palace faces, "Largo do Palcio de Queluz", remains relatively unaltered since the 18th century. The large houses, once the homes of courtiers, and the former Royal Guard quarters with its campanile are still clustered around the palace. In later years, the town of Queluz has expanded considerably to become one of the suburbs of Lisbon. The Palace of Queluz is one of Lisbon's many tourist attractions.
Informations
- ADDRESS: Largo do Palácio - Queluz
- PHONE #: +351 214 343 860
- OPEN: Wednesday to Monday from 9.00 a.m. to 5.00 p.m.
- PRICE: € 4,00