The tile panels of the Ermida do Senhor Jesus dos Navegantes and Nossa Senhora da Glória preserve the memory of the earthquake that struck Lisbon in 1755.
Portraits have some tradition in Portuguese tiles and are often associated with a historical narrative.
The palace and gardens of the Marqueses de Fronteira, an exemplary piece of Portuguese civil architecture of the 17th century, find their model in the programs of the Triumphal Entries, in which the cities celebrate the enthronement of a new monarch or the royal weddings.
The history kept the memory of the ugliness of Queen Carlota Joaquina, of a wanton life with numerous lovers, fame fed by the Portuguese Civil War (1828-1834), and her support for D. Miguel.
The gardens of the Quinta dos Marqueses de Fronteira, in Lisbon, form a unique set that combines sculpture, tiles, and cladding to celebrate the triumph of the heroes of the Portuguese Restoration Wars (1640-1668) and the establishment of the new Bragança dynasty.
To celebrate the nuns’ return to Évora, a major campaign of works was undertaken, with the order of 19 tile panels with scenes of the life of the French abbot Bernard of Clairvaux. Dated around 1783-1785, they are likely to have been produced at the Royal Tableware Factory, in Lisbon.
In the high choir, there is a monumental representation of Paterno, bishop of Braga, presiding over a council in Toledo. This is the key theme that defines the general objective of the images of the Saint Vitor Church, with a political discourse in defense of the ambitions of the city of the archbishops.
The tiles painted by Gabriel del Barco for the Convent of Nossa Senhora da Assunção are one of the most amazing works of the Spanish painter, a pioneer of blue and white figurative tiles in Portugal.
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