Palace of Queluz

The corps de logis of the "Ceremonial Façade" of the Palace of Queluz designed by Oliveira. (Marked 4 on plan below)

The Palace of Queluz, now Queluz National Palace, is a Portuguese eighteenth-century palace located at Queluz, a satellite town 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, who was later to become husband and then regent to his own niece, Queen Maria I. By default, the Palace became the official residence of Portuguese monarchy in 1794; in reality it was a discreet place of incarceration for an insane monarch, Queen Maria.

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 favour with the Portuguese sovereigns. In 1908, it became the property of the state. Following a serious fire which gutted the interior in 1934, the palace was extensively restored, and today is open to the public as a major tourist attraction.

A wing of the palace, the Pavilion of Donna Maria, built between 1785 and 1792 by the architect Manuel Caetano de Sousa, is now an official guest house allocated to foreign heads of state visiting Portugal.

Architecture and history

Diagram of the layout of the palace. This key is referred to throughout page (click on numbers for images) 1 Cour d'honneur and monument to Maria I; 2 Entrance facade; 3 Court of the corps de logis; 4 Ceremonial facade; 5 Hanging garden & Triton fountain; 6 Ogee pediment & Ballroom wing; 7 Magnolia avenue; 8 South facade of the Robillon wing; 9 Robillon wing; 10 Collonade; 11 Robillon entrance steps; 12 Chapel & dome; 13 North wing; 14 Topiary parterre; 15 Road.

The architecture of Queluz is symbolic 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 the classical ideas of architecture which emanated from the Renaissance. Queluz in its design is a revolt against the earlier more heavy, Italian-influenced Baroque which preceded the rococo style throughout Europe.

The architecture of Queluz is also symbolic of the lifestyle led by the Portuguese royal family. It was built during the reign of Dom Pedro's brother Josef I, when Portugal was in practice governed by a valido or favourite, 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. On the accession of his wife in 1777, Dom Pedro dismissed Pombal and ruled in his place, using his partially completed rococo palace at Queluz as a retreat from affairs of state. In much the same way, Frederick the Great used Europe's other famed rococo palace, Sanssouci.

The site chosen for this summer retreat was in a secluded hollow. It had originally been owned by the Marquess of Castelo Rodrigo. When the ruling Spanish were driven from Portugal in 1640, the property was confiscated and Rodrigo accused of having collaborated with the Spanish. The estate and its hunting lodge then became one of the many properties of the Portuguese king, João IV. He then 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.

Ribillon's entrance is reached by flights of ingeniously designed graduated steps adorned with statuary. (see key 11)

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 sombre 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 construction was interrupted by the Great Earthquake of 1755, after which the labourers were more urgently required for the reconstruction of the city. The earthquake proved to be a catalyst, which, as the rebuilding began, stimulated the development of the arts in Portugal. The subsequent architecture of Queluz was to be influenced by new ideas and concepts. When work recommenced in 1758, the design was adapted for fear of a repeat earthquake. The new design took the form of a longer lower building rather than a single high block: thus viewed from a distance the palace seems to resemble long enfilades linked by pavilions rather than one single construction.

Exterior

The palace's public face to the town. The entrance from the cour d'honneur. Architecturally the most severe of the palace's many differing façades, it gives no hint of the architectural excesses beyond. (see key 2)

The public façade of the palace faces directly onto a town square and takes the form of two low, symmetrical, quadrant (architecture) wings which flank a small central corps de logis forming a semi-circular cour d'honneur. The southern of the two wings is terminated by the chapel surmounted by an onion dome, while the northern wing contained the kitchens and servants' quarters. (see key: 2, 1 and 13) The windows have decorated pediments, and further decoration comes in the form of the flambeaux placed at intervals in the balustrade above. This façade, while the most readily seen from the town, is in fact one of the most architecturally severe elevations of the palace.

While Oliveira was directly responsible for the "Ceremonial Façade", the nucleus of the palace, and some of the interior courtyards, his former tutor, the Frenchman Jean-Baptiste Robillon, was in charge of the gardens, many buildings, and the roccoco interiors, with the assistance of Jean-Baptiste Pillement, together with other French and Portuguese artists. The "Ceremonial facade" is the best-known view of the palace. With classical proportions, it is externally decorated by travertine rendering, and delicately carved cartouches over the windows. It has been described as a "harmonious example of Portuguese Baroque". This façade with its single-storey flanking wings forms a three-sided courtyard containing the "Hanging Garden" - so called because like the Hanging Gardens of Babylon it is located upon a raised terrace (see key 5).

The south front of the Robillon wing. Baroque extravagance taken to an extreme. (see key 8)

The second major part of the palace is the great western wing, known as the Robillon wing or Robillon Pavilion, which illustrates better than any other the excesses of Baroque and rococo architecture (see key 9) . Completed in 1779, it has a doric colonnade which runs the entire length of its western and southern facades, the roof of which provides a balustraded balcony for the floor above (see key 10). The eastern side, due to the topography of the site, appears as a single story building, with only the upper floor visible above the ground in the "Hanging Garden." The balustrade on the roof of the Robillon wing is broken by heavy segmental pediments adorned with reclining statuary figures, while the balustrade is also adorned with statuary and heavy armorial trophies

The Robillon wing contains an entrance to the palace reached by flights of ingeniously designed graduated steps centered on a corner of a terrace and adorned with elaborate statuary (see key 11). The bays of the façade are stuccoed rose-pink contrasting with the motifs and pilasters in natural stone.

In 1760, Pombal had arranged for Dom Pedro to marry the king's unstable daughter Maria, the heiress to the throne. Pombal encouraged the couple to live away from the seat of government in the unfinished palace at Queluz. After Dom Pedro assumed the role of Regent for Maria, Queluz became in effect the principal residence of the royal family. Further enlargements were made which reflected the palace's elevation from country retreat to royal palace.

At the death of Dom Pedro in 1786, all the exterior work was completed. From 1794, the widowed Queen Maria I and her court took up official and full-time residence. In effect the palace became a place where the now completely insane Queen could be hidden from the view of her subjects, while her eldest son, later King João VI, was appointed Regent and ruled from Lisbon and the great palace at Mafra.

Interior

The façade of the ballroom wing with its ogee arch reminiscent of Borromini. The architect however, unknown illustrates the palace's differing appearance as a series of pavilions, often with swooping roof lines, rather than one large mass. (see key 6)

Topiary in the early 18th century Anglo-Dutch manner laid out by the Gerald van der Kolk is a feature of the gardens at Queluz (see key 9)

The interior of the palace received no less attention to detail and design than had the exterior. French artisans were employed to decorate the rooms, many of which are small with walls and ceilings painted to depict allegorical and historical scenes. Polished red bricks were frequently used for the floors for not only a rustic appearance but also for 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, woods from Brazil, Denmark and Sweden while coloured marbles were imported from Italy.

The interior of the palace was gutted by fire in 1934, and much was lost, the only room to fully survive was the long gallery line with tiled wall panels. known as the Sala das Mangas. The enfilade of state rooms have been restored. Robillon's "Sala dos Embaixadores" (Hall of Ambassadors), sometimes called the throne room, designed in 1757, is one of the largest reception rooms in the palace. It has a ceiling painted by Francisco de Melo which depicts the Portuguese royal family during the reign of Queen Maria I. The room is extremely wide and light, spanning the full width of the palace; it has tall windows on both sides, with pier glasses adorned with crystal sconces. The throne dais is flanked by gilded and mirrored columns and the floor is a chequer board pattern of black and white marble tiles.

The music room which follows the "Sala dos Embaixadores" is decorated with gilt wood and tiles redesigned in 1768. These rooms also have painted ceilings from which hang vast crystal chandeliers.

The royal family's private dining room known as the "Sala das Merendas" continues in the same decorative theme with tiled panels illustrating courtiers in sylvan poses. These panels like much other work in the palace were the work of João Valentin and José Conrado Rosa. These private rooms of the palace are far smaller and more intimate than the formal state rooms; the Queen's boudoir is designed in the form of a bower with a trellis pattern on the ceiling which is reflected in the marquetry of the floor, thus creating the impression of being in a pergola rather than a sitting room. .

The Chapel is decorated with carved and gilded wood, with detailing highlighted in red, green, blue and pink, by the Portuguese sculptor Silvestre Faria Lobo. This was the first part of the palace to be completed, the first service being held there in 1752. The chapel has galleries for the use of royal personages, one of which contains a small rococo organ. A feature of the chapel is the ornate portable font, its marble basin resting in an ornate rococo frame surmounted by a carved wood cover.

Grounds

Rococco tiles in the gardens of the Palace of Queluz.

The "Dutch Canal" lined with azulejo. Fed by a stream the sluice gates to the canal are only opened in May

Queluz is famed for the glory of its gardens which include a large topiary parterre laid out in the manner of Le Nôtre at the rear of the palace (see key 14). The Flemish influences, including the canals, in the garden are the work of their 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 that is flanked by two allegorical equestrian statues depicting Fames, and two sphinxes. The sphinxes are surreally dressed in eighteenth-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 into the gardens is a grotto complete with a cascade. Later to be popular feature in Portuguese gardens, the Queluz cascade was the first artificial waterfall to be constructed near Lisbon.

An avenue of huge magnolias act as the approach the classical Robillon wing of the palace (see key 7), while from the wing a double staircase leads to the canal. More than 100 metres 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 tiles. During the eighteenth century the canals were the setting for fête champêtres 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

The palace photographed from the Tritan fountain in the "hanging garden" (see key 5)

Following a fire at the Ajuda Palace in 1794 the Prince Regent John VI 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.

In 1807 to escape the forces of Napoleon I the Portuguese royal family were forced to abandon Queluz and flee 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. However, 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 short in stature. Whatever her shortcomings she lived in great style at Queluz, employing an orchestra which William Beckford when visiting the Queen described as the finest in Europe . The Queen also had a small private theatre in the gardens, of which nothing remains today. The Queen died at the palace in 1830.

Following the death of Carlotta Joaquina, Queluz was only used intermittently and spasmodically as a royal residence: no kings of Portugal resided fully at Queluz again. Carlotta Joaquina's son King Miguel used the palace during the three-year civil war which he fought against against his brother King Pedro IV. before being forced to abdicate and go into exile by his brother in 1834; a year later Pedro I died at Queluz, the palace of his birth, aged 35, of tuberculosis. 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.

Queluz, National Monument

The onion dome of the chapel. This was the first part of the palace to be completed. One of the two quadrant wings of the cour d'honneur can ebe seen to the right. A main road passes within metres of the palace. (see key 12)

Since 1940 the palace 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 "Donna Maria Pavilion" in the palace's the east wing was transformed into an official guest house for visiting heads of state.

Today, while the town square "Largo do Palacio de Queluz" which the palace faces remains relatively unaltered with its campanile and large houses once belonging to courtiers since the 18th century albeit that a busy road passes through the square's centre (see key 15). The town of Queluz has expanded and is now one of the suberbs of Lisbon. The palace gardens are now bounded by the "Radial de Sintra" motorway. Today the palace is one of Lisbon's chief tourist attractions.

References

• Dynes, Wayne (1968). Palaces of Europe. London: Paul Hamlyn. ISBN.

• Fielding,Xan. (Queluz - pages 275 – 279) "Great Houses of Europe". Edited by Sacheveral Sitwell. 1961. Weidenfeld and Nicolson Ltd. London. ISBN 0-600-33843-6.
• Lowndes, Susan (1969). Great Palaces (Queluz. Pages 174–186) edited by Sacheveral Sitwell. London: Hamlyn Publishing Group Ltd. ISBN 0600 01682 X.
• Portuguese Institute for Architectural Heritage [1]
• IPPAR, General Bureau for National Buildings and Monuments (Portugal). Published by IPPAR 2001-2006. Retrieved 07 December 2007

Video

• File:Queluz.ogg