Author
Possible involvement of Martín Lourenço (master mason at the Monastery of San Francisco in Évora, and in the Royal Palace of Évora, annex 1507-1524) or one of his collaborators.
Author Original
احتمال مشاركة مارتين لورنشو معلم البناء في دير سان فرانسيسكو في إيفورا، وفي القصر الملكي في إيفورا، ملحق أو أحد معاونيه
Type
Other
Language
Undetermined
Digital
Yes
Manuscript
No
Library
Museum With No Frontiers
Record ID
monument;ISL;pt;Mon01;19;ar
Library Location
Évora (Yaborra), Portugal
Notes
The isolated palace in the countryside was a place of relaxation and a hunting ground. Its plan is almost quadrangular (approximately 25 meters by 25 metres), its size is coherent, and it shows additions and changes. On the main facade that faces east, visible is a large portal dating back to the second quarter of the sixteenth century, with perfectly round Tuscan pillars and columns indicating Renaissance influences. Under the portico begins the reception staircase that leads to the main floor, that is, the second floor of the building. The building, through a door with a simple and straight lintel, with a slight curve in the center in the form of a lance ending in a pine cone, equipped with small columns integrated into the structure and surmounted by capitals carried on shoulders. This door was protected by a nacelle (no doubt of the same model as the one in the “Pitcordoville” in Évora), of which the support columns remain. In this façade, two twin marble windows with lattice openings open, and they are positioned over an arch A pediment framed by fine columns and two fires - the two windows - the main hall. There is another window with a double-arched horseshoe-shaped window opening, and another corner window, on the north-east side, with fully round arches, the interior of which consists of small arches, which is considered an architectural innovation within the civil architecture reserved for the nobility, and an indication of an emerging human tendency to contemplate and enjoy nature. All the low facades are sparsely decorated with openings and openings to illuminate the annexed sections. Dedicated to the services of the palace. On the western façade of contrasting sizes we find a window equipped with alfiz, fireplaces and traces of pink sgraphite, which probably adorned the upper architecture of the four facades and of the tower, which constitutes the first structure of the architectural ensemble, and which could date back to the beginning of the fifteenth century. A spiral staircase leads to the three floors and often leads to a balcony protected by parapet-shaped openings that were deleted in the nineteenth century. The southern façade is also characterized by the presence of A small church with cylindrical supports similar to the model found in the Church of San Bras in Évora. This last church, which dates back to the beginning of the sixteenth century, contains a door surmounted by a trefoil arch through which peasants entered to attend religious services without disturbing the privacy of the owners. It is arranged in the shape of a rectangle, without a chest or a transverse transept, and has a dome of two heights filled with arches. The owners of the palace could follow the religious services through a window - a platform located on the second floor of the tower, which It is topped with a star dome. The building was converted years ago into a hotel establishment.
Sample Text
Manuel J. C. Branco “La Siempre Nueva (Palace of the Eternal Fiancée)” in Discover Islamic Art. Museum Without Borders, 2026. 2026. https://islamicart.museumwnf.org/database_item.php?id=monument;ISL;pt;Mon01;19;ar
