Lisbon - Convento da Madre de Deus

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cloisters as well as the small side portal to the left of the main entrance on the long frontage. In contrast the main portal is a reconstruction from 1872. In creating this authentic replacement a panel which can be seen in the Museu Nacional da Arte Antiga was relied on.

The panel dates from the 16th century and shows how a relic acquired in Cologne was brought to Lisbon. The scene depicted is in front of the then new Madre de Deus convent, with the original portal clearly recognizable.

Apart from the particularly Manueline elements - plant decorations and the two stone side columns fashioned like ropes - a fishing net and a pelican can be seen below the crown next to the Portuguese coat of arms. These emblems of Leonor and her husband Joao II were also used in the articulation of the upper ends of the facade. Leonor's son, Afonso, died in 1491 as the result of a riding accident at Tejo near to Santarém and his body was carried by fishermen in a net to the royal palace - hence the reason for the queen's choice of her personal coat of arms. The Baroque decoration of the interior is worth seeing.

The internal decoration is not particularly in the usual Baroque style but it nevertheless contains typically Portuguese elements of this period. The warm gold coloring of the over rich Talha Dourada contrasts with the cool blue white of the tiles, both combine to present a striking impression. The altars and the lavish pulpit have been fashioned in pure Talha woodwork. The one aisled building is spanned by a barrel vaulted coffered ceiling, on which 20 paintings illustrate events in the life of Mary. Large tile decorations depicting biblical and country scenes fill the lower halves of the walls, while above them can be seen pictures of St Francis.

A semi circular painting above the archway leading to the chancel shows the Coronation of the Virgin Mary. Old pictures dating from the 16th century hang in the altar room itself.

Immediately to the left of the entrance, the Madre de Deus convent and a fishing net are depicted on tiling. A stone net is noticeable in the small sacristy - another reminder of the emblem of the founder.

Steps at the far end of the church lead to the part of the original building that has been retained. This is faced with Spanish tiles dating from the 16th century; the green color and the geometric pattern of the azulejos are characteristic of the Spanish style of that time.

Two cloisters remain from the former convent - both two stories high. The Renaissance cloister used to be the resting place of the convent's founder, Leonor, with a tombstone set into the floor bearing witness to this.