Azulejo

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Azulejo
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From Wikipedia, the free encyclopedia
Portuguese and Spanish painted tiles
For the Portuguese review, see
Azulejos (journal)
.
Panel of the
Battle of Aljubarrota
by Portuguese artist
Jorge Colaço
, 1922
Azulejo
(
Portuguese:
[
ɐzuˈle(j)ʒu,
ɐzuˈlɐjʒu
]
,
Spanish:
[
aθuˈlexo
]
; from the
Arabic
الزليج
,
al-
zillīj
)
[
1
]
[
2
]
is a form of Iberian painted
tin-glazed
ceramic tilework. They are an ornamental art form, but also had a specific function, such as aiding temperature control in homes.
There is also a tradition of their production in former
Portuguese
and
Spanish colonies
in North America, South America, the
Philippines
,
Goa
,
Lusophone Africa
,
East Timor
, and
Macau
.
Azulejos
constitute a major aspect of Portuguese and Spanish architecture to this day, and are found on buildings across Portugal, Spain and their former territories. Many
azulejos
chronicle major historical and cultural aspects of
Portuguese
and
Spanish history
.
[
3
]
In Spanish and Portuguese,
azulejo
is the everyday word for (any) tile.
[
1
]
Etymology
[
edit
]
The word
azulejo
(as well as the
Ligurian
laggion
[
4
]
) is derived from the Arabic
الزليج
(
al-zillīj
),
[
1
]
zellij meaning “polished stone” because the original idea was to imitate the Byzantine and Roman mosaics.
[
5
]
History
[
edit
]
13th to 15th centuries
[
edit
]
The Spanish city of
Seville
became the major centre of the
Hispano-Moresque
tile industry. The earliest
azulejos
in the 13th century were panels of tile-mosaic known as
alicatados
(from
Arabic:
ﻗَﻄَﻊَ
,
romanized:
qata’a
,
lit.
‘
to cut
‘
),
[
6
]
[
7
]
:
24
known as
zellij
in
Islamic architecture
.
[
8
]
Tiles were glazed in a single colour, cut into geometric shapes, and assembled to form
geometric patterns
. There are many examples in the
Alhambra
of
Granada
.
[
9
]
This tradition was continued for a time in
Mudéjar architecture
in Spain (e.g. in the 14th-century sections of the
Alcázar of Seville
),
[
10
]
and has been perpetuated to this day in
Morocco
.
[
11
]
When former Moorish-controlled territories came under Spanish rule in Spain, new techniques of tile-making developed from the older Andalusi traditions. As wealthy Spaniards favoured the Mudéjar style to decorate their residences, the demand for mosaic tilework in this style increased beyond what tilemakers could produce, requiring them to consider new methods.
[
12
]
Towards the late 15th and early 16th centuries, Seville became an important production center for a type of tile known as
cuenca
(“hollow”) or
arista
(“ridge”).
[
13
]
[
12
]
[
7
]
In this technique, motifs were formed by pressing a metal or wooden mould over the unbaked tile, leaving a motif delineated by thin ridges of clay that prevented the different colours in between from bleeding into each other during baking. This was similar to the older
cuerda seca
technique but more efficient for mass production.
[
7
]
[
12
]
[
14
]
The motifs on these tiles imitated earlier Islamic and Mudéjar designs from the
zellij
mosaic tradition or blended them with contemporary European influences such as
Gothic
or Italian
Renaissance
.
[
12
]
[
7
]
[
15
]
Following their development, arista tiles grew in prominence during this period due to the streamlined manufacturing process and their ability to more readily incorporate epigraphical works associated with the Reconquista.
[
16
]
Prominent examples of these tiles can be found in the early 16th-century decoration of the
Casa de Pilatos
in Seville.
[
7
]
This type of tile was produced well into the 17th century, and was widely exported from Spain to other European countries and to the Spanish colonies in the
Americas
.
[
12
]
The same techniques were introduced into Portugal by King
Manuel I
after a visit to Seville in 1503. They were applied on walls and used for paving floors, as can be seen in several rooms, especially the Arab Room of the
Sintra National Palace
(including the famous
cuenca
tiles with the armillary sphere, symbol of king Manuel I). The Portuguese adopted the Moorish tradition of
horror vacui
(‘fear of empty spaces’) and covered the walls completely with
azulejos
.
(Moorish)
Alicatado
(ca. 13th century
[
17
]
) in the
Cuarto Real de Santo Domingo
, Granada
(Moorish)
Alicatado
in the
Alhambra
(14th century),
Granada
(Christian)
Capilla de San Bartolomé
(ca. 1410
[
18
]
),
Córdoba
(Christian)
Alfardones
, ca. 1420,
Manises
, Spain
(Christian) Azulejos of the 15th century of the
Sintra National Palace
, Portugal
(Christian) Tiles in
Alcázar of Segovia
16th century
[
edit
]
Potters from Italy came into Seville in the early 16th century and established workshops there. They brought with them the
maiolica
techniques which allowed the artists to represent a much larger number of figurative themes in their compositions. The first Italian potter to move into Spain was
Francisco Niculoso
who settled in Seville in 1498.
[
19
]
Niculoso’s arrival led to the development of Sevillian tiles, often referred to as planos; and a new decorative technique known as pisanos, that incorporated maiolica technique with the new medium for azulejos.
[
16
]
Examples of Niculoso’s work are hosted
in situ
in the Alcazar of Seville. Numerous azulejos from this period—often influenced by Renaissance trends introduced by Niculoso and other Italian artisans— took the form of polychrome tile panels depicting religious and mythological themes, or hunting scenes.
[
20
]
Until the mid-16th century the Portuguese continued to rely on foreign imports, mostly from Spain, such as the
Annunciation
by Francisco Niculoso in
Évora
, but also on a smaller scale from
Antwerp
(Flanders), such as the two panels by
Jan Bogaerts
in the
Paço Ducal
of
Vila Viçosa
(Alentejo). One of the early Portuguese masters of the 16th century was
Marçal de Matos
, to whom
Susanna and the Elders
(1565), in
Quinta da Bacalhoa
, Azeitão, is attributed, as well as the
Adoration of the Shepherds
(in the National Museum of Azulejos in Lisbon).
[
21
]
The
Miracle of St. Roque
(in the Church of S. Roque, Lisbon) is the first dated Portuguese
azulejo
composition (1584). It is the work of
Francisco de Matos
, probably the nephew and pupil of Marçal de Matos. Both drew their inspiration from
Renaissance
and
Mannerist
paintings and
engravings
from Italy and Flanders. A fine collection of 16th-century azulejos (
azulejos Hispano-mouriscos
) can be found in the Museu da Rainha D. Leonor in
Beja
, Portugal (the former
Convento da Conceição
).
In the late 16th century,
checkered
azulejos were used as decoration for large surfaces, such as in churches and monasteries. Diagonally placed plain white tiles were surrounded by blue square ones and narrow border tiles.
Chapel of the
Alcázar of Seville
(Spain) covered with tin-glazed tiles painted in 1504 by the
Pisan
Francesco Niculoso.
[
22
]
Casa de Pilatos
in Seville has around 150 different azulejo designs of the 1530s,
[
23
]
one of the largest antique collections in the world
[
24
]
Panel of Hernando de Loaysa, around 1590,
Palacio de Fabio Nelli
,
Valladolid
, Spain.
16th-century azulejos in Convent of Santa Isabel, Valladolid
Basílica de Nuestra Señora del Prado,
Talavera de la Reina
, Spain.
Real Colegio Seminario del Corpus Christi
,
Valencia
, Spain.
Azulejos made by Hernando de Santiago and Juan de Víllalba in 1575
[
25
]
in Sala Nova, Palau de la Generalitat Valenciana, Valencia.
Azulejo of the
Santa Cruz Hospital
in Toledo, Spain.
Azulejos of the
Palacio de la Condesa de Lebrija
(ca. 1585
[
26
]
), Seville
Altarpiece of Our Lady of Life, painted in 1580 by Marçal de Matos,
National Museum of the Azulejo
, Lisbon.
Cuenca
tile with
traditional geometric motif
, at the
Metropolitan Museum of Art
, from 16th-century Spain
[
27
]
Cuenca
tile, with newer motifs, in the
Casa de Pilatos
in Seville (16th century)
17th century
[
edit
]
Shortly afterwards, these plain white tiles were replaced by polychrome tiles (
enxaquetado rico
) often giving a complex framework such as in the
Igreja de Santa Maria de Marvila
in
Santarém, Portugal
.
When the diagonal tiles were replaced by a repetitive pattern of horizontal polychrome tiles, one could obtain a new design with different motifs, interlacing Mannerist drawings with representations of roses and camellias (sometimes roses and
garlands
). An inset votive usually depicts a scene from the life of
Christ
or a saint. These carpet compositions (
azulejo de tapete
), as they were called, elaborately framed with friezes and borders, were produced in great numbers during the 17th century. The best examples are to be found in the Igreja do Salvador,
Évora
, Igreja de S. Quintino, Obral de Monte Agraço, Igreja de S. Vicente, Cuba (Portugal) and the university chapel in
Coimbra
.
The use of
azulejos
for the decoration of
antependia
(front of an altar), imitating precious altar cloths, is typical for Portugal. The panel may be in one piece, or composed of two or three sections. They were used in the 16th, 17th and 18th centuries. Some antependia of the 17th century imitate oriental fabrics (
calico
,
chintz
). The golden fringes of the altar cloth were imitated by yellow motifs on the painted border tiles. Excellent examples can be found in the
Hospital de Santa Marta
, Lisbon, or in the
Convent of Santa Maria de Almoster
and the
Convento de Santa Cruz do Buçaco
.
During the same period another motif in friezes was introduced: floral vases flanked by birds, dolphins or
putti
, the so-called
albarradas
. They were probably inspired by Flemish paintings of flower vases, such as by
Jan Brueghel the Elder
. These were still free-standing in the 17th century, but they would be used in repetitive modules in the 18th century. Azulejos located in the Royal Monastery of the Descalzas Reales depicted various virtues and aspects of women of royal descent. These tiles are singular in nature, but reflect a marked shift—during the late 16th and early 17th centuries—away from geometric patterns to an emphasis on religious and colloquial depictions.
[
28
]
Azulejos dating from 1642 are in the
Basilica and Convent de San Francisco de Lima
, Peru.
[
29
]
Azulejos in the Colegio Maximo de San Pedro contain numerous depictions of martyrs and prominent Catholic figures commissioned by Jesuit missionaries. These depictions served both devotional and symbolic purposes, and their inclusion was used to reinforce the Jesuit presence in Lima.
[
30
]
Another type of azulejo composition, called
aves e ramagens
(‘birds and branches’), came into vogue between 1650 and 1680. They were influenced by the representations on printed textiles that were imported from India:
Hindu
symbols, flowers, animals and birds.
In the second half of the 17th century, the Spanish artist
Gabriel del Barco y Minusca
introduced into Portugal the
blue-and-white tiles from Delft
in the Netherlands. The workshops of Jan van Oort and
Willem van der Kloet
in
Amsterdam
created large tile panels with historical scenes for their rich Portuguese clients, such as for the Palace of the Marqueses da Fronteira in
Benfica
, Lisbon. But when
King Peter II
stopped all imports of
azulejos
between 1687 and 1698, the workshop of Gabriel del Barco took over the production. The last major production from Holland was delivered in 1715. Soon large, home-made blue-and-white figurative tiles, designed by academically trained Portuguese artists, became the dominant fashion, superseding the former taste for repeated patterns and abstract decoration.
Carpet-style decoration
Museu da Rainha D. Leonor; Beja, Portugal
Antependium decorated with azulejos
Church of Nossa Senhora da Graça; Sagres, Portugal
Kings Gallery fountain, Palace of the Marquess of Fronteira, Lisbon, Portugal
Palace of the Marquess of Fronteira, Lisbon.
Saints Justa and Rufina
,
c.
1600
,
Museum of Fine Arts of Seville
Detail of the azulejos (ca. 1606)
[
31
]
at the
Basilica of Santo Domingo, Lima
, Peru
Azulejos inside the
Chapel of the Rosario
(1531-1690),
[
32
]
Puebla City
, Mexico
Azulejos (dating to 1642)
[
29
]
in the
Basilica of San Francisco, Lima
, Peru.
18th century
[
edit
]
The late 17th and early 18th centuries became the ‘Golden Age of the Azulejo’, the so-called Cycle of the Masters (
Ciclo dos Mestres
). Mass production was started not just because of a greater internal demand, but also because of large orders came in from the Portuguese
colony of Brazil
. Large one-off orders were replaced by the less expensive use of repetitive tile patterns. Churches, monasteries, palaces and even houses were covered inside and outside with
azulejos
, many with exuberant
Baroque
elements.
The most prominent master-designers in these early years of the 18th century were:
António Pereira (artist)
, Manuel dos Santos, the workshop of
António de Oliveira Bernardes
and his son
Policarpo de Oliveira Bernardes
; the
Master PMP
(only known by his monogram) and his collaborators
Teotónio dos Santos
and
Valentim de Almeida
;
Bartolomeu Antunes
and his pupil
Nicolau de Freitas
. As their production coincided with the reign of King
João V
(1706–1750), the style of this period is also called the
Joanine
style.
During this same period appear the first ‘invitation figures’ (
figura de convite
), invented by the Master PMP and produced in the 18th and 19th centuries. These are cut-out panels of
azulejos
with life-size figures (footmen,
halberdiers
, noblemen or elegantly dressed ladies), usually placed in entrances of palaces (see
Palácio da Mitra
), patios and stair landings. Their purpose was to welcome visitors. They can only be found in Portugal.
In the 1740s the taste of Portuguese society changed from the monumental narrative panels to smaller and more delicately executed panels in
Rococo
style. These panels depict gallant and pastoral themes as they occur in the works of the French painter
Antoine Watteau
. Fine examples are the façade and the gardens of the Palace of the Dukes de Mesquitela in Carnide (
Lisbon
) and the
Corredor das Mangas
in the
Queluz National Palace
. The mass-produced tiles acquired a more stereotypic design with predominant polychrome irregular shell motifs.
François Lemoyne
, another prominent Rococo artist, influenced the trends azulejo followed at this time as well. His recently rediscovered work, the Annunciation, has been credited by researchers as a significant exemplar for 18th century azulejo works in Portugal and Brazil. The original work was copied by
Laurent Cars
and proliferated through Portugal and its colonies. Lemoyne’s work has been reproduced through azulejo in numerous Portuguese churches. The work depicts the annunciation of
Mary
by
Gabriel
the archangel and one such example exists in the
Church of Nossa Senhora da Luz
.
[
33
]
The reconstruction of Lisbon after the
great earthquake of 1755
gave rise to a more utilitarian role for decoration with
azulejos
. This bare and functional style would become known as the
Pombaline style
, named after the
Marquis of Pombal
, who was put in charge of rebuilding the country. Small devotional
azulejo
panels started to appear on buildings as protection against future disasters.
In
Mexico
, the production of
Talavera
, a regional form of maiolica, developed from azulejo techniques introduced in the early 16th century. Azulejos were widely utilized in religious and domestic applications at this time, and The
Casa de los Azulejos
—constructed in 1737 for the Count and Countess of El Valle de Orizaba—in
Mexico City
is one such example.
As a reaction, simpler and more delicate
Neoclassical
designs started to appear with more subdued colours. These themes were introduced in Portugal by the engravings of Robert and James Adams. The
Real Fábrica de Louça do Rato
, with the master-designer
Sebastião Inácio de Almeida
and the painter
Francisco de Paula e Oliveira
, became in this period an important manufacturer of the characteristic so-called
Rato
-tiles. Another important tile painter in this period was
Francisco Jorge da Costa
.
With great Portuguese influence, the city of
São Luís
, in
Maranhão
, in Brazil, preserves the largest urban agglomeration of azulejos from the 18th and 19th centuries, throughout Latin America. In 1997, the Historic Center of São Luís was declared a
World Heritage Site
by
UNESCO
. São Luís is also known as “Cidade dos Azulejos”.
[
34
]
Azulejos of the walls of Sala dos Brasões (ca. 18th century
[
35
]
),
Sintra National Palace
, Portugal
Azulejos in Rococo-style in the
Palace of Queluz
, Portugal.
Albarrada, flower vase by Valentim de Almeida (between 1729 and 1731);
Cathedral of Porto
, Portugal.
Azulejos by Willem van der Kloet (1708) in the transept of the
Church of Nossa Senhora da Nazaré
;
Nazaré
, Portugal.
Azulejos of the
Lisbon Cathedral
, ca. 1755.
[
36
]
Azulejos vault in Óbidos, Portugal.
Checkered azulejos on the façade of the Igreja Matriz de Cambra,
Vouzela
, Portugal
Azulejos (ca. 1785
[
37
]
) of refrectory of
Jerónimos Monastery
, Lisbon
Azulejos (ca. 18th century
[
38
]
) of the
Alcobaça Monastery
Azulejos (ca. 1760) of
Igreja da Misericórdia
,
Tavira
, Portugal
Galería Dorada (c. early-18th century
[
39
]
),
Ducal Palace of Gandia
,
Gandia
, Spain
Convent of Saint-Francis, 1702,
Salvador de Bahia
, Brazil.
Casa de los Azulejos
palace, ca. 1737,
[
40
]
Mexico City
, Mexico.
Azulejos of the facade made between 1650 and 1750
[
41
]
with
Talavera pottery
.
Church of San Francisco Acatepec
in
San Andrés Cholula
, Mexico.
Large panel showing the
Terreiro do Paço
and Lisbon before the 1755 earthquake. ca. 18th century.
National Museum of the Azulejo
,
Lisbon
Palácio do Raio
in
Braga
, Portugal
19th century
[
edit
]
In the first half of the 19th century, there was a stagnation in the production of decorative tiles, owing first to the
incursion of the Napoleonic army
and later to social and economic changes. When around 1840 immigrant Brazilians started an industrialized production in
Porto
, the Portuguese took over the Brazilian fashion of decorating the façades of their houses with
azulejos
. While these factories produces high-relief tiles in one or two colours, the Lisbon factories started using another method: the
transfer-print
method on blue-and-white or polychrome
azulejos
. In the last decades of the 19th century, the Lisbon factories started to use another type of transfer-printing: using
creamware
blanks.
While these industrialized methods produced simple, stylized designs, the art of hand-painting tiles was not dead, as applied by
Manuel Joaquim de Jesus
and especially
Luís Ferreira
. Luis Ferreira was the director of the Lisbon factory Viúva Lamego and covered the whole façade of this factory with allegorical scenes. He produced panels, known as
Ferreira das Tabuletas
, with flower vases, trees, and allegorical figures, applying the
trompe-l’œil
technique. These hand-painted panels are fine examples of the eclectic Romantic culture of the late 19th century.
Mid-19th century, in England, in addition to encaustic tiles and mosaics, the Mintons factory also produced azulejos.
[
42
]
Casa do Ferreira das Tabuletas, in Rua da Trindade,
Lisbon
, building built between 1849 and 1865 with its respective
trompe-l’œil
azulejos in the facade.
Azulejos at
Buçaco Palace
, in
Mealhada
, Portugal.
Façade of a grand house in Aveiro, Portugal.
Jardines del Prado garden in
Talavera de la Reina
, Spain. Built in 1864.
[
43
]
Uriarte Talavera
, ca. 1824,
Puebla
, Mexico
Portuguese Azulejos in
Macau
Portuguese Azulejo depicting the arrival of a ship with
Port wine
cargo in
St. John’s
, Canada, 1892
20th century
[
edit
]
At the start of the 20th century,
Art Nouveau
azulejos started to appear from artists such as
Rafael Bordalo Pinheiro
,
Júlio César da Silva
and
José António Jorge Pinto
. In 1885 Rafael Bordalo Pinheiro founded a
ceramics
factory in
Caldas da Rainha
, where he created many of the pottery designs for which this city is known. In this factory he has his own a museum São Rafael devoted to his fantastically imaginative work, especially the decorative plates and his satirical stone figures, such as the
Zé Povinho
(a representation of the worrying common man).
Around the 1930s,
Art Deco
-azulejos made their appearance with their principal artist António Costa. The monumental decorations, consisting of 20,000 azulejos, in the vestibule of the
São Bento railway station
in Porto, created by
Jorge Colaço
,
[
44
]
show in its historical themes the narrative style of the romantic ‘picture-postcard’.Colaço reintroduced the medium of azulejo as a central focus of his work. He developed methods that broadened the range of colors and visual effects achievable in tile panels, though some contemporaries raised concerns about their long-term durability. These techniques were applied in large-scale decorative projects like the São Bento railway station.
[
45
]
This one of the most notable creations with
azulejos
of the 20th century. The façades of the churches of Santo Ildefonso and Congregados equally attest to the artistic mastery of Jorge Colaço. Other artists from this period include
Mário Branco
and
Silvestre Silvestri
, who decorated in 1912 the lateral façade of the Carmo Church, and Eduardo Leite for his work on the Almas Chapel (imitating the style of the 18th century), both in Porto.
20th-century artists include
Jorge Barradas
,
Carlos Botelho
,
Jorge Martins
,
Sá Nogueira
,
Menez
and
Paula Rego
.
Maria Keil
designed the large abstract panels in the initial nineteen stations of the
Lisbon Underground
(between 1957 and 1972). Through these works she became a driving force in the revival and the updating of the art of the
azulejo
, which had gone in some decline. Her decorations of the station
Intendente
is considered a masterpiece of contemporary
tile art
.
[
46
]
Inside the
Grace Cathedral
,
São Tomé
Park Güell
, Barcelona, of 1914.
One of the several tiled benches of the Plaza 25 de Julio built in 1917,
[
47
]
Santa Cruz de Tenerife
, Canary Islands
Azulejos made in 1918 in
Font de Santa Anna
, Barcelona
Panel by Jorge Colaço (circa 1922) depicting an episode from the battle of
Aljubarrota
(1385) between the Portuguese and
Castilian
armies,
Lisbon
, Portugal.
ABC Serrano Building built by
Aníbal González
in 1926, Madrid
Plaza de España, Seville
, of 1928.
Capela de Santa Catarina, Porto; façade was covered in 1929.
Portuguese Azulejos depicting the image of
Our Lady of Fátima
,
Ermera
, East Timor.
Santa Maria Church in
Covilhã
; façade was covered in the 1940s.
Art Nouveau azulejos on a shop in Porto.
Iglesia de San Juan Bautista de
Chiva
, Valencia.
Interior of the
São Bento railway station
,
Porto
, Portugal, around twenty thousand tiles (551 square meters) installed in the building were created in the 1930s by the painter
Jorge Colaço
.
[
44
]
Portuguese Azulejos, at the
Instituto Menezes Bragança
, in the former Portuguese colony in
India
,
Goa
.
Azulejos in Parc du Portugal, founded in 1953,
[
48
]
Little Portugal, Montreal
, Canada
Portuguese Azulejos in
Bissau
, Guinea-Bissau
Californian Azulejos, at one of the
Long Beach
Historic Landmarks,
Recreation Park bandshell
, US
Luso-American
Azulejos depicts an image of
Our Lady of Fátima
, in
The Ironbound
,
Newark
, United States
Manises
tile, in
Alginet
21st-century azulejos (
Porto
)
Lisbon Metro
[
edit
]
Azulejo tiles are present in almost every station in the
Lisbon Metro
system.
Initially, painter
Maria Keil
(1914–2012), wife of metro system architect
Francisco Keil do Amaral
(1910–1975), created the works for the Metro stations.
A new expansion, completed in 1988, featured works by more contemporary Portuguese artists: Rolando de
Sá Nogueira
in Laranjeiras,
Júlio Pomar
in Alto dos Moinhos,
Manuel Cargaleiro
in
Colégio Militar/Luz
, and
Maria Helena Vieira da Silva
in
Cidade Universitária
. Following on from this, many artists have been commissioned to decorate new and refurbished stations.
Pieces
[
edit
]
Station
Line
Artist(s) and date of completion
Alameda
Green
Maria Keil, 1972, & Noronha da Costa,1998
Alameda
Red
Costa Pinheiro, Alberto Carneiro, & Juahana Bloomstedt, 1998
Alfornelos
Blue
Ana Vidigal
, 2004
Alto dos Moinhos
Blue
Júlio Pomar, 1988
Alvalade
Green
Maria Keil, 1972, Bela Silva, 2006, & Maria Keil, 2007
Amadora Este
Blue
Graça Morais
, 2004
Ameixoeira
Yellow
Irene Buarque, 2004
Anjos
Green
Maria Keil, 1966 & Rogério Ribeiro, 1982
Areeiro
Green
Maria Keil, 1972 & Júlia Ventura, 2013
Arroios
Green
Maria Keil, 1972
Avenida
Blue
Rogério Ribeiro, 1959, 1982
Baixa-Chiado
Blue
Ângelo de Sousa, 1998
Baixa-Chiado
Green
Ângelo de Sousa, 1998
Bela Vista
Red
Querubim Lapa, 1998
Cabo Ruivo
Red
David de Almeida, 1998
Cais do Sodré
Green
António Dacosta, 1998 & Pedro Morais, 1998
Campo Grande
Yellow
Eduardo Nery, 1993
Campo Grande
Green
Eduardo Nery, 1993
Campo Pequeno
Yellow
Maria Keil, 1959, 1979, & Francisco Simões, 1994
Carnide
Blue
José de Guimarães, 1997
Chelas
Red
Jorge Martins, 1998
Cidade Universitária
Yellow
Manuel Cargaleiro (Transposition in azulejo of a 1940 painting by Vieira da Silva), 1988
Colégio Militar/Luz
Blue
Manuel Cargaleiro, 1988
Entre Campos
Yellow
Maria Keil, 1959, 1973, & Bartolomeu Cid dos Santos, 1993, & José de Santa Bárbara, 1993
Intendente
Green
Maria Keil, 1966 e 1977
Jardim Zoológico
Blue
Maria Keil, 1959 & Júlio Resende, 1995
Laranjeiras
Blue
Rolando Sá Nogueira (in collaboration with Fernando Conduto) 1988
Lumiar
Yellow
António Moutinho, Marta Lima, & Susete Rebelo, 2004
Marquês de Pombal
Yellow
Menez
, 1995
Marquês de Pombal
Blue
Maria Keil, João Cutileiro, & Charters de Almeida, 1995
Martim Moniz
Green
Maria Keil, 1966, & Gracinda Candeias, 1997, & José João Brito, 1997
Moscavide
Red
Manuel Bastos, 2012
Olivais
Red
Nuno de Siqueira & Cecília de Sousa, 1998
Oriente
Red
António Ségui, Artur Boyd, Errö, Hundertwasser, Yayoi Kusama, Joaquim Rodrigo, Abdoulaye Konaté, Sean Scully, Raza, Zao Wou Ki, & Magdalena Abakanowicz, 1998
Parque
Blue
Maria Keil, 1959 & Françoise Schein, 1994 & Federica Matta, 1994 & João Cutileiro, 1995
Picoas
Yellow
Maria Keil, 1959, 1982, & Martins Correia, 1995
Pontinha
Blue
Jacinto Luís, 1997
Praça de Espanha
Blue
Maria Keil, 1959, 1980
Quinta das Conchas
Yellow
Joana Rosa, 2004 & Manuel Baptista, 2004
Rato
Yellow
Vieira da Silva (transposed to azulejo by Manuel Cargaleiro), & Arpad Szènés, 1997
Restauradores
Blue
Maria Keil, 1959, 1977, Luiz Ventura, 1994, Nadir Afonso & Lagoa Henriques, 1998
Roma
Green
Maria Keil, 1972, Lourdes de Castro & René Bertholo, 2006
Rossio
Green
Maria Keil, 1963 & Artur Rosa & Helena Almeida, 1998
Saldanha
Red
Almada Negreiros (transposed by José Almada Negreiros), 2009
Saldanha
Yellow
Maria Keil, 1959, 1977, Jorge Vieira, 1996, 1997, Luis Filipe de Abreu, 1996, 1997
Santa Apolónia
Blue
José Santa-Bárbara, 2007
São Sebastião
Blue
Maria Keil, 1959, 1977, 2009
São Sebastião
Red
Maria Keil, 2009 & Catarina Almada Negreiros, 2009 & Rita Almada Negreiros, 2009
Senhor Roubado
Yellow
José Pedro Croft, 2004
Telheiras
Green
Eduardo Batarda, 2002
Terreiro do Paço
Blue
João Vieira, 2007
Traditions
[
edit
]
Hispano-Moresque ware
(Spanish)
Talavera de la Reina pottery
(Spanish)
Manises pottery
(Spanish)
Paterna pottery (Spanish)
Talavera pottery
(Mexican)
Uriarte Talavera
(Mexican)
El Puente del Arzobispo pottery (Spanish)
State of protection
[
edit
]
Tiles are vulnerable to
vandalism
, neglect, and theft due to their prevalence and relative ease of access in historic and often decaying buildings across Portugal. In Lisbon, tiles can sometimes be found for sale in
street fairs
and the
black market
,
[
49
]
despite efforts to raise awareness among buyers, many of whom are foreign tourists. Since 2013, it is illegal to demolish buildings with tile-covered façades in Portugal.
[
50
]
The highest numbers of thefts are carried out in Lisbon; authorities estimate that 25% of artistic tiles in that city were lost between 1980 and 2000.
[
51
]
The introduction of SOS Azulejo produced a substantial decrease, around 80 percent, in azulejo theft and vandalism from its inception until 2013. There was a slight decline in the following years, but SOS Azulejo still remains a key preventative and preservative measure.
[
52
]
The main azulejo protection group in Portugal, SOS Azulejo, created in 2007 and working as a dependency of
Polícia Judiciária
,
[
51
]
has identified the limitation and control of the sale of ancient tiles in those markets as their main goal.
[
50
]
The city of Lisbon has created the ‘Banco do Azulejo’ (
tile bank
), which collects and stores around 30,000 tiles from demolished or condemned buildings and from donations. There are similar projects in the cities of Aveiro, Porto, and Ovar.
[
53
]
In August 2017, a law was passed to prohibit both the demolition of buildings with tiles and renovation work involving the removal of tiles, even if only in the building’s interior.
[
54
]
[
55
]
See also
[
edit
]
Zellij
– Mosaic tile decoration
Portuguese architecture
Portuguese pavement
Spanish architecture
Spanish Colonial architecture
National Museum of the Azulejo
References
[
edit
]
1
2
3
“azulejo(2)”
.
Diccionario de la lengua española
(in Spanish) (Tricentenario
ed.). Real Academia Española.
↑
“Azulejos: gallery and history of handmade Portuguese and Spanish tiles”
.
www.azulejos.fr
. Retrieved
8 April
2020
.
↑
Varejão, Adriana (7 October 2022).
“At home with Brazilian artist Adriana Varejão”
(Interview). Interviewed by Harriet Lloyd-Smith. Wallpaper* magazine.
↑
Cf. the Italian noun
laggione
on the
Il nuovo De Mauro
dictionary.
↑
Duvar, Gazete (2019-06-30).
“Kapla bütün sokaklarımı azulejo!”
.
Gazete Duvar
(in Turkish).
Archived
from the original on 2020-12-03
. Retrieved
2021-11-16
.
↑
La Ruta de la Cerámica
, Asociación Española de Fabricantes de Azulejos, Castellón, 2000
1
2
3
4
5
Degeorge, Gérard; Porter, Yves (2001).
The Art of the Islamic Tile
. Translated by Radzinowicz, David. Flammarion. pp.
64–
65.
ISBN
208010876X
.
↑
Bloom, Jonathan; Blair, Sheila S., eds. (2009).
“Architecture; X. Decoration; B. Tiles”
.
Grove Encyclopedia of Islamic Art & Architecture
. Oxford University Press. p.
201.
ISBN
978-0-19-530991-1
.
↑
Les Métamorphoses de l’azur
, Ars Latina, Paris, 1994
↑
Bloom, Jonathan M. (2020).
Architecture of the Islamic West: North Africa and the Iberian Peninsula, 700–1800
. Yale University Press. p.
172.
ISBN
9780300218701
.
↑
Marçais, Georges (1954).
L’architecture musulmane d’Occident
. Paris: Arts et métiers graphiques. pp.
414–
415.
1
2
3
4
5
Rosser-Owen, Mariam (2010).
Islamic Arts from Spain
. V&A Publishing. p.
102.
ISBN
9781851775989
.
↑
Coentro, Susana; Trindade, Rui A. A.; Mirão, José; Candeias, António; Alves, Luís C.; Silva, Rui M. C.; Muralha, Vânia S. F. (1 January 2014). “Hispano-Moresque ceramic tiles from the Monastery of Santa Clara-a-Velha (Coimbra, Portugal)”.
Journal of Archaeological Science
.
41
:
21–
28.
Bibcode
:
2014JArSc..41…21C
.
doi
:
10.1016/j.jas.2013.07.031
.
hdl
:
10174/13806
.
ISSN
0305-4403
.
↑
Campbell, Gordon, ed. (2006).
The Grove Encyclopedia of Decorative Arts
. Oxford University Press. pp.
293, 471.
ISBN
9780195189483
.
↑
Frothingham, Alice Wilson (1969).
Tile Panels of Spain, 1500-1650
. order of the trustees, Hispanic Society of America. pp.
xiii.
ISBN
978-0-87535-110-0
.
1
2
Dias Martins, Danielle (19 June 2025).
“Tiles (Azulejos)) and Tiling Mosaic (Alicatados) pieces within the Alhambra Museum Collections: A Historical, Artistic, and Technical Approach”
.
Heritage
. Heritage: 31
–
via UNM Library Catalog.
↑
City Hall of Granada, Tourism office,
Cuarto Real Plaza de los Campos s/n Realejo. Granada
↑
artencordoba.com (10 July 2020),
Mudejar Chapel of San Bartolomé
↑
Morales, Alfredo J. –
Francisco Niculoso Pisano
, Arte Hispalense, Diputación de Sevilla, 1991
↑
Pereira, Silvia R.M.; Conte, Gloria; Esteves, Lurdes; Pais, Alexandre N.; Mimoso, João M. (13 March 2023).
“Evolution of azulejo glaze technology in Portugal from the 16th to the onset of the 19th century”
.
Journal of the European Ceramic Society
. Elsevier BV: 12
–
via Google Scholar.
↑
“Preserving Portuguese culture through tattoos”
.
www.theportugalnews.com
.
↑
Guillermo García Ramos (1978).
Jornadas Científicas sobre Cerámica y Vidrio
. University of Seville.
ISBN
84-7405-096-0
.
↑
MARATANIA (5 April 2013),
“Los azulejos de la Casa de Pilatos de los hermanos Pulido – 152”
,
Editorial Maratania
↑
loveofspain.com,
THE CASA DE PILATOS – A DREAM ANDALUSIAN PALACE IN THE HEART OF SEVILLE
, archived from
the original
on 2017-04-21
, retrieved
2018-04-06
↑
City Council of Valencia,
PLAN ESPECIAL DE LOS ENTORNOS DE LOS BIENES DE INTERÉS CULTURAL DE LA ZONA CENTRAL DE CIUTAT VELLA
(pdf)
↑
ÍNDICE CIVIL CERÁMICA ARQUITECTÓNICA. ZÓCALOS
, retabloceramico.net
↑
“Panel of 4 cuenca tiles”
.
MET Museum
. Retrieved
2022-10-06
.
↑
Calvo, Eva (29 June 2024).
“The Symbolic Ceramics of the Royal Monastery of the Descalzas Reales (Madrid). A Set of Tiles of Great Significance for the Discalced Community”
.
Anuario Colombiano de Historia Social y de la Cultura
. Universidad Nacional de Colombia: 43
–
via UNM Library Catalog.
1
2
San Cristóbal Sebastián, Antonio (2006).
“Capítulo VII. Azulejos en el claustro e iglesia”
. In Institut français d’études andines; Banco Central de Reserva del Perú (eds.).
Nueva visión de San Francisco de Lima
(in Spanish). OpenEdition Books. pp.
81–
98.
doi
:
10.4000/books.ifea.1127
.
ISBN
978-9972-623-44-8
.
See section 12 in “Los azulejos de Sevilla” for a letter from Pedro Rodríguez to Marcos Ibáñez on payment for tiles.
↑
Pedrosa Velasco, Dionicia (3 September 2022).
“Los rostros de la santidad. Mártires y fundadores jesuitas en los azulejos de la sacristía de San Pedro de Lima”
.
Letras
. Universidad Nacional Mayor de San Marcos: 15
–
via UNM Library Catalog.
↑
Mirta Linero Baroni; Juan Ramón Muñíz Álvarez (2015),
“Restos de azulejería. Los Azulejos”
(PDF download)
,
Aportaciones arqueológicas al análisis del arte decorativo murario en Panamá del siglo XVI – Azulejería sevillana del convento de Santo Domingo, Panamá Viejo
, Patronage Panamá Viejo, Association of Independent Professionals of the Archeology of Asturias, p.
12
. read online at

↑
“Puebla de los Ángeles”
.
Centro Virtual Cervantes,
Instituto Cervantes
(in Spanish).
↑
de Carvalho, Rosario Salema (7 February 2025).
“The afterlife of François Le Moyne’s Annunciation on eighteenth-century Portuguese azulejos”
.
Eikon Imago
.
14
. Universidad Complutense de Madrid: 20
–
via Directory of Open Access Journals.
↑
Bogéa, Isabella (9 November 2012).
“A HERANÇA LUSITANA DA CIDADE DOS AZULEJOS”
.
eGov UFSC
(in Portuguese)
. Retrieved
4 January
2019
.
↑
Government of the Republic of Portugal
.
“Palácio Nacional de Sintra – detalhe”
(in Portuguese)
. Retrieved
8 April
2020
.
↑
Porto Editora (2003).
“Sé Catedral de Lisboa”
.
Infopédia
(in Portuguese)
. Retrieved
8 April
2020
.
↑
“Refectory”
.
mosteirojeronimos.gov.pt
(in Portuguese). Archived from
the original
on 12 June 2018
. Retrieved
8 April
2020
.
↑
“MOSTEIRO DE ALCOBAÇA”
.
Portugal em 360º Distrito de Leiria
. Retrieved
8 April
2020
.
↑
“Monumento”
.
Palau Ducal dels Borja website
. Retrieved
8 April
2020
.
↑
Gonzalez Obregón, Luis (1909).
“La casa de los azulejos”
(PDF)
.
México viejo y anecdótico
. Robarts Toronto. p.
201.
↑
Terán Bonilla, José Antonio; Velázquez Thierry, Luz de Lourdes (2010).
Templo de San Francisco Acatepec. Antología del Barroco Poblano
. El Errante.
ISBN
978-607-7525-42-4
.
↑
Digby Wyatt, May 26, 1858, Journal of the Society of Arts, On the influence exercised on ceramic manufacturers by the late Mr. Herbert Minton, p.442
↑
www.talavera.org.
“Jardines del Prado”
. Archived from
the original
on 2017-03-23
. Retrieved
2017-03-22
.
1
2
“São Bento Station”
.
PortugalVisitor – Travel Guide To Portugal
.
↑
Pereira, Silva; Menezes, Marluci; van Lookeren Campagne, Kate (May 29–30, 2017).
“The Importance of Technological Knolwedge for the Valorization of Azulejo Heritage”
(PDF)
.
Repositório do LNEC
. Laboratório Nacional de Engenharia Civil. pp.
3–
4
. Retrieved
September 15,
2025
.
↑
“Azulejos, Traditional Spanish and Portuguese Tiles, Provide Inspiration For Modern Vinyl Floor Tiles”
.
Zazous Vinyl Flooring
. 2020-09-10.
Archived
from the original on 2021-11-16
. Retrieved
2021-11-16
.
↑
Plaza 25 de julio
, webtenerife.com
↑
“Parc du Portugal”
.
Lonely Planet
.
↑
“Thieves target historic Portuguese decorative tiles”
.
The Straits Times
. 8 August 2017
. Retrieved
16 August
2017
.
1
2
“A lei protege os azulejos mas há quem os continue a vender”
[
The law protects azulejos, but there are some who still sell them
]
.
Público
(in European Portuguese). 23 August 2017
. Retrieved
23 August
2017
.
1
2
“Câmaras apertam regras para proteger azulejos mas furtos estão a aumentar”
[
Cities tighten rules but number of thefts is increasing
]
.
Público
(in European Portuguese). 19 April 2015
. Retrieved
23 August
2017
.
↑
de Amorim e Sa, Leonor Maria (1 September 2016).
“Turning a Social Problem into a Cultural Opportunity: The Crime Prevention Project SOS Azulejo”
.
European Police Science and Research Bulletin
(14): 10
–
via HeinOnline.
↑
“Em Lisboa, o Banco do Azulejo já funciona e inventário vai a meio”
[
In Lisbon, the ‘Banco do Azulejo’ is already operational and its inventory is half done
]
.
Público
(in European Portuguese). 18 April 2017
. Retrieved
23 August
2017
.
↑
“Demolição de fachadas com azulejos interdita em todo o país”
[
Demolition of façades with tiles banned all over the country
]
.
TSF
(in Portuguese). 21 August 2017. Archived from
the original
on 18 November 2024
. Retrieved
23 August
2017
.
↑
“Lei n.º 79/2017 – Protege o património azulejar”
[
Law 79/2017 – Protecting tile heritage
]
.
Diário da República Eletrónico
(in European Portuguese). 18 August 2017
. Retrieved
9 September
2017
.
Sources
[
edit
]
Morales, Alfredo J. –
Francisco Niculoso Pisano
, Arte Hispalense, Diputación de Sevilla, 1977, 1991
dos Santos Simões, J. M. –
Azulejaria em Portugal nos séculos XV e XVI
: introdução geral
, Calouste Gulbenkian Foundation, 2nd ed., Lisbon, 1990 (in Portuguese)
Costa, Vania –
Azulejo
, Accessible Travel Magazine, September 2006
Meco, José –
O Azulejo em Portugal
, Alfa, Lisbon, 1988 (in Portuguese)
Castel-Branco Pereira, João –
Portuguese tiles from the National Museum of Azulejo
, Lisbon, 1995,
ISBN
0-302-00661-3
Turner, J. –
Tile – History and Uses, Portugal
in
Grove Dictionary of Art
, MacMillan, 1996,
ISBN
0-19-517068-7
The Rough Guide to Portugal
– 11th edition March 2005 –
ISBN
1-84353-438-X
Rentes de Carvalho J. –
Portugal, um guia para amigos
– in Dutch translation:
Portugal – De Arbeiderspers
, Amsterdam, 9th ed., August 1999
ISBN
90-295-3466-4
Mucznik, Sonia. –
The Azulejos of Lisbon
Sabo, Rioleta; Falcato, Jorge. N. and photographs by Nicolas Lemonnier –
Portuguese Decorative Tiles
, New York, London and Paris, 1998;
ISBN
0-7892-0481-9
Barros Veloso, A. J.; Almasqué, Isabel –
Portuguese Tiles and Art Nouveau / O Azulejo Portugués ea Arte Nova
, Edições Inapa, Portugal, 2000;
ISBN
972-8387-64-4
External links
[
edit
]
Media related to
Azulejos
at Wikimedia Commons
A catalog with many of the historical azulejos in Spain and Portugal with their creation date and details
National Azulejo Museum, Portugal
An illustrated history of the azulejo
The over-glaze decoration technique
Introduction to the azulejos by the Instituto Camoes
Archived
2016-02-06 at the
Wayback Machine
(in Portuguese)
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Azulejo
Wallcoverings
Types of pottery decoration
Tiling
Portuguese traditions
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