Gilded woodcarving in Portugal
Gilded woodcarving in Portugal (
Comparison
Gilded woodcarving is a less expensive and more flamboyant artform than other technically more demanding types of decoration, such as sculpture or painting, although tile is also inexpensive. The amount of gold required is relatively small. It does not require the extensive training of a sculptor or painter. The forms are copied and adapted from decorative architecture and inspiration taken from books. During the seventeenth century a typically Portuguese vocabulary developed. After being transported to the empire, it adapted to local traditions and artistic capacities, as is visible in Brazil or in India – mainly in Goa.
Artists take commissions from regional orders to guarantee the activity of their workshop, sometimes making several related works in a specific geographical area. Examples exist in colour, white or natural wood, but without the visual impact of the gilded carvings.
Gothic, and Renaissance Manueline
Gilded woodcarving in Portugal started during the Gothic period following architectural models, taken mainly from sculpture and goldsmithery, using the decorative vocabulary of the style. Gothic arches, pinnacles, columns, etc., are associated with sculpture or painting. The typical form was a wooden structure, with the gold carving kept for the architectural part of the “machine” and the rest of the elements left either in plain wood or covered with colour. In spite of the small number of surviving altarpieces (the overwhelming majority was replaced during the Baroque period), it is known that they followed the international taste, such as the main altarpiece in the old Cathedral of Coimbra.
The
The Renaissance followed the architectural decoration, but without golden carving, employing painting and sculpture and following the classic imagination from books of the time. The carved decoration in wood was close to the intended stone forms, visible in portals, tombs or even in goldsmithery. The preference for large altarpieces in stone or painting did not allow the development of woodcarving as an autonomous form of expression, leaving it a decorative art. The later Mannerism provided the necessary conditions for autonomous gilded woodcarving to arise.
Mannerism
Economic and other factors led to the expansion of gilt woodcarving during the Mannerist era. The economic crisis at the end of the sixteenth century, the growing importance of the
The set is built into floors, with several kinds of solutions. Triumph arches might be combined with sculpture, usually in the choir, allowing the space behind the decorated altarpiece to be seen. Examples include the monumental little-painted altarpieces of the choir at Church of São Domingos de Benfica and Church of Luz in Carnide - Lisbon and the highly painted Carnide altarpiece, executed by Francisco Venegas with the collaboration of Diogo Teixeira.
The main altarpiece of
The Baroque
This period was the most monumental phase of woodwork in Portugal and Brazil.
With the end of 60 years of forced Iberian unification under the government of the Spanish kings
The altarpiece resembles a powerful machine, built with concentric archivolts, classical spiral columns (pseudo salomonic), platforms and throne. The decoration is based mainly on dispersed leaves covering the whole set. The altarpiece is undoubtedly Baroque, although presenting characteristics clearly opposed to the Spanish models.
Iberian peace, and the discovery of Brazilian gold and diamonds make Portugal under King D. João V Europe's richest country, allowing the development of international Baroque art in all forms. Portuguese taste adjusted to international models and was baptised "Joanina". It converted the archivolts to trim cut, incorporated sculpture-like angels, garlands, vegetal-like forms, birds and architectural elements. It kept the spiral columns, gallery and throne. The decor is suggestive of sculpture and spreads throughout the church, covering every available surface - vaults, walls, columns, arches and pulpits. Notable examples are scattered from north to south, but the main ones are the Church of São Francisco (Porto) and Church of Santa Clara (Porto). Both were completely covered in baroque gilded woodcarving giving them the look of a golden cave. The most significant examples in Porto are the following:
- Monastery of Arouca.
- Sacrário of Monastery of Alcobaça.
- Igreja da Pena em Lisboa – main altar.
- Igreja de Santa Catarina em Lisboa – main altar.
- Igreja do convento de Nossa Senhora da Conceição de Marvila in Lisbon.
- Madre de Deus convent in Lisbon.
- Oporto Cathedral– main altar .
- Igreja de Santo Idelfonso no Porto – main altar.
- Church of Monastery of São Bento da Vitória in Oporto – main altar.
- Church of São Francisco (Porto) – a golden cave.
- Church of Santa Clara (Porto) – a golden cave.
- Braga Cathedral – monumental organs.
- Mosteiro de Jesus of Aveiro.
- Igreja de Santo António of Lagos – Choir.
The King owned gilded woodcarving carriages, among which are three baroque carriages used by his embassy to the
The Rococo
King
Rococo gilded woodcarving is subdivided into several currents or regional styles, allowing it to maintain variety and originality, from north to south. Shells, angels, volutes, leaves, puti, columns, spiral columns (pseudo-salomonic), painted materials and a lot of gold are its formal vocabulary.
Two major variations developed around Lisbon. Some works followed the royal house, characterized by elegance and the quality of the decorative motives, but with the Rococo vocabulary, and with influences remaining from the Joanina woodcarving and the chapel of São João Baptista in the Church of São Roque. Example include:
- Chapel of the Queluz National Palace– With painted materials simulating colour marbles, some gilded woodcarving, very elegant with a classic touch.
- Main altar in Madre de Deus convent in Lisbon - With Joanina influence, keeping gallery and throne, it has the typical vocabulary of Rococo. It is completely golden and perfectly integrated in the building.
The pombaline churches developed a different expression. The earthquake reconstruction used prefabricated materials. These buildings have internal Rococo decoration, painted materials in wood and plaster, gallery and throne in the main altar, columns, architectural forms, a few golden shapes, some painting (the work of Pedro Alexandrino de Carvalho is the most important) and sculpture. Examples include: Church of Santo António of Lisbon (built in the birthplace of St. Anthony), Church of the Encarnação, Magdalena Church and Basilica of Nossa Senhora dos Mártires. In less destroyed buildings, the aim was to harmonise the pombaline shapes with existing decor.
The non-sacred ("profane") French influence was visible. It was characterized by sumptuous decorations in gilded woodcarvings and/or plaster simulating materials, normally inside palaces. It was popular among the aristocracy. The main example is the throne room of the
In the area of Coimbra a regional school started with the main altarpiece of the Church of the
The north of Portugal developed an impressive list of Rococo altarpieces, fusing Rococo and “Joanino”. The works were completely golden, associated with painting or sculpture.
Around
- Church of the Monastery of Tibães– Main altarpiece, arch of triumph and monumental organ.
- Carmo Church (Porto) - Chapel.
- Church of Nossa Senhora da Vitória (Porto) – Main altarpiece.
- Church of Santa Maria Madalena (Braga) - called Chapel of Falperra – Main altarpiece.
In southern Portugal woodcarving is less common because of the abundance of marble, obviating the need to develop timber structures imitating marble.. Notable examples in the Alentejo and Algarve are different from the rest of the country. This originality is particularly visible in Évora, in:
- Convent of Carmo (Évora)
- Convent of Remédios (Évora) - Absolutely remarkable.
- Convent of São José (Évora)
- Church of Mercês (Évora)
- São Francisco Church (Faro) - Remarkable mixture of gilded woodcarving and tile.
Carriages continued to bear carvings and gilt. The reign of Queen
Neoclassicism
Neoclassicism marked the end of quality woodcarving in Portugal. Few churches were built, supporting few examples. They follow the classical Roman models and because the requirement to respect classic architectural orders, cost their originality. Noteworthy examples include the Church of Ordem Terceira de São Francisco and the altar of Church of Lapa (Porto). Another important factor is the exile of the royal family to Brazil during the French invasion, where the country (The United Kingdom of Portugal and Brazil) concentrate its artistic investments. Seventeen years later, when the King returned, Romanticism was installed and gilded woodcarving had lost its meaning and originality, overwhelmed by the revivalist fashion.