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Azulejo (Portuguese:[ɐzuˈle(j)ʒu,ɐzuˈlɐjʒu],Spanish:[aθuˈlexo]; from theArabicالزليج,al-zillīj)[1][2] is a form of Iberian paintedtin-glazedceramictilework.Azulejos are found on the interior and exterior ofchurches,palaces, ordinary houses, schools, and nowadays, restaurants, bars and evenrailway orsubway stations. They are anornamental art form, but also had a specific function, such astemperature control in homes.There is also a tradition of their production in formerPortuguese andSpanish colonies in North America, South America, thePhilippines,Goa,Lusophone Africa,East Timor, andMacau.Azulejos constitute a major aspect ofPortuguese andSpanish architecture to this day, and are found on buildings across Portugal, Spain and their former territories. Manyazulejos chronicle major historical and cultural aspects ofPortuguese andSpanish history.[3]
In Spanish and Portuguese,azulejo is simply the everyday word for (any) tile.[1]
The wordazulejo (as well as theLigurianlaggion[4]) is derived from the Arabicالزليج (al-zillīj),[1] zellij meaning "polished stone" because the original idea was to imitate the Byzantine and Roman mosaics.[5]
The Spanish city ofSeville became the major centre of theHispano-Moresque tile industry. The earliestazulejos in the 13th century were panels of tile-mosaic known asalicatados (from Arabic:ﻗَﻄَﻊَ,romanized: qata'a,lit. 'to cut'),[6][7]: 24 known aszellij inIslamic architecture.[8] Tiles were glazed in a single colour, cut into geometric shapes, and assembled to formgeometric patterns. There are many examples in theAlhambra ofGranada.[9] This tradition was continued for a time inMudéjar architecture in Spain (e.g. in the 14th-century sections of theAlcázar of Seville),[10] and has been perpetuated to this day inMorocco.[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 ascuenca ("hollow") orarista ("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 oldercuerda seca technique but more efficient for mass production.[7][12][14] The motifs on these tiles imitated earlier Islamic and Mudéjar designs from thezellij mosaic tradition or blended them with contemporary European influences such asGothic or ItalianRenaissance.[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 theCasa 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 theAmericas.[12]
The same techniques were introduced into Portugal by KingManuel 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 theSintra National Palace (including the famouscuenca tiles with the armillary sphere, symbol of king Manuel I). The Portuguese adopted the Moorish tradition ofhorror vacui ('fear of empty spaces') and covered the walls completely withazulejos.
![(Moorish) Alicatado (ca. 13th century[17]) in the Cuarto Real de Santo Domingo, Granada](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aCuarto_Real_de_Santo_Domingo%2c_Granada._Elementos_decorativos.jpg)
![(Christian) Capilla de San Bartolomé (ca. 1410[18]), Córdoba](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aCapilla_Mud%25C3%25A9jar_de_San_Bartolom%25C3%25A9_in_der_Calle_Averroes%2c_C%25C3%25B3rdoba_-_panoramio.jpg)
Potters from Italy came into Seville in the early 16th century and established workshops there. They brought with them themaiolica 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 wasFrancisco 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 hostedin 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 theAnnunciation by Francisco Niculoso inÉvora, but also on a smaller scale fromAntwerp (Flanders), such as the two panels byJan Bogaerts in thePaço Ducal ofVila Viçosa (Alentejo). One of the early Portuguese masters of the 16th century wasMarçal de Matos, to whomSusanna and the Elders (1565), inQuinta da Bacalhoa, Azeitão, is attributed, as well as theAdoration of the Shepherds (in the National Museum of Azulejos in Lisbon).[21] TheMiracle of St. Roque (in the Church of S. Roque, Lisbon) is the first dated Portugueseazulejo composition (1584). It is the work ofFrancisco de Matos, probably the nephew and pupil of Marçal de Matos. Both drew their inspiration fromRenaissance andMannerist paintings andengravings from Italy and Flanders. A fine collection of 16th-century azulejos (azulejos Hispano-mouriscos) can be found in the Museu da Rainha D. Leonor inBeja, Portugal (the formerConvento 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]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aNiculoso_Alcazar_Seville.jpg)
![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]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aSevilla-4-9_(48040450686).jpg)
![Azulejos made by Hernando de Santiago and Juan de Víllalba in 1575[25] in Sala Nova, Palau de la Generalitat Valenciana, Valencia.](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aMare_de_D%25C3%25A9u_com_a_emblema_del_bra%25C3%25A7_eclesi%25C3%25A0stic%2c_s%25C3%25B2col_cer%25C3%25A0mic_de_la_sala_Nova_del_palau_de_la_Generalitat_Valenciana.JPG)
![Azulejos of the Palacio de la Condesa de Lebrija (ca. 1585[26]), Seville](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aWall_with_azulejos_-_Palacio_de_la_Condesa_de_Lebrija.JPG)
![Cuenca tile with traditional geometric motif, at the Metropolitan Museum of Art, from 16th-century Spain[27]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aPanel_of_4_cuenca_tiles_MET_sf33_46.jpg)
Shortly afterwards, these plain white tiles were replaced by polychrome tiles (enxaquetado rico) often giving a complex framework such as in theIgreja de Santa Maria de Marvila inSantarém, 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 andgarlands). An inset votive usually depicts a scene from the life ofChrist or a saint. These carpet compositions (azulejo de tapete), as they were called, elaborately framed withfriezes 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 inCoimbra.
The use ofazulejos for the decoration ofantependia (front of analtar), 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 theHospital de Santa Marta, Lisbon, or in theConvent of Santa Maria de Almoster and theConvento de Santa Cruz do Buçaco.
During the same period another motif infriezes was introduced: floral vases flanked by birds, dolphins orputti, the so-calledalbarradas. They were probably inspired by Flemish paintings of flower vases, such as byJan 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 theBasilica 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, calledaves 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 artistGabriel del Barco y Minusca introduced into Portugal theblue-and-white tiles from Delft in the Netherlands. The workshops of Jan van Oort andWillem van der Kloet inAmsterdam created large tile panels with historical scenes for their rich Portuguese clients, such as for the Palace of the Marqueses da Fronteira inBenfica, Lisbon. But whenKing Peter II stopped all imports ofazulejos 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.
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![Detail of the azulejos (ca. 1606)[31] at the Basilica of Santo Domingo, Lima, Peru](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aSanto_Domingo_Lima%2c_Kacheln_aus_Sevilla.jpg)
![Azulejos inside the Chapel of the Rosario (1531-1690),[32] Puebla City, Mexico](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aCapilla_del_Rosario_07.jpg)
![Azulejos (dating to 1642)[29] in the Basilica of San Francisco, Lima, Peru.](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aPBb057-Krypta_i_kru%25C5%25BCganki_Koscio%25C5%2582a_%25C5%259Aw_Franciszka.jpg)
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 Portuguesecolony 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 withazulejos, many with exuberantBaroque elements.
The most prominent master-designers in these early years of the 18th century were:António Pereira (artist), Manuel dos Santos, the workshop ofAntónio de Oliveira Bernardes and his sonPolicarpo de Oliveira Bernardes; theMaster PMP (only known by his monogram) and his collaboratorsTeotónio dos Santos andValentim de Almeida;Bartolomeu Antunes and his pupilNicolau de Freitas. As their production coincided with the reign of KingJoão V (1706–1750), the style of this period is also called theJoanine 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 ofazulejos with life-size figures (footmen,halberdiers, noblemen or elegantly dressed ladies), usually placed in entrances of palaces (seePalácio 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 inRococo style. These panels depict gallant and pastoral themes as they occur in the works of the French painterAntoine Watteau. Fine examples are the façade and the gardens of the Palace of the Dukes de Mesquitela in Carnide (Lisbon) and theCorredor das Mangas in theQueluz 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 byLaurent 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 ofMary byGabriel the archangel and one such example exists in theChurch of Nossa Senhora da Luz.[33]
The reconstruction of Lisbon after thegreat earthquake of 1755 gave rise to a more utilitarian role for decoration withazulejos. This bare and functional style would become known as thePombaline style, named after theMarquis of Pombal, who was put in charge of rebuilding the country. Small devotionalazulejo panels started to appear on buildings as protection against future disasters.
InMexico, the production ofTalavera, 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 TheCasa de los Azulejos—constructed in 1737 for the Count and Countess of El Valle de Orizaba—inMexico City is one such example.
As a reaction, simpler and more delicateNeoclassical designs started to appear with more subdued colours. These themes were introduced in Portugal by the engravings of Robert and James Adams. TheReal Fábrica de Louça do Rato, with the master-designerSebastião Inácio de Almeida and the painterFrancisco de Paula e Oliveira, became in this period an important manufacturer of the characteristic so-calledRato-tiles. Another important tile painter in this period wasFrancisco Jorge da Costa.
With great Portuguese influence, the city ofSão Luís, inMaranhão, 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 aWorld Heritage Site byUNESCO. 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](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aSintra_L1190119_(25141013871).jpg)
![Azulejos of the Lisbon Cathedral, ca. 1755.[36]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aCath%25C3%25A9drale_Santa_Maria_Maior_de_Lisbonne_avant_1755.jpg)
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![Azulejos (ca. 1785[37]) of refrectory of Jerónimos Monastery, Lisbon](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aLisboa%2c_Mosteiro_dos_Jer%25C3%25B3nimos%2c_refeit%25C3%25B3rio%2c_azulejos_(2).jpg)
![Azulejos (ca. 18th century[38]) of the Alcobaça Monastery](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aAlcoba%25C3%25A7a_-_Mosteiro_de_Alcoba%25C3%25A7a_10_(22994623339).jpg)
![Galería Dorada (c. early-18th century[39]), Ducal Palace of Gandia, Gandia, Spain](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aGand%25C3%25ADa_(23980380357).jpg)
![Casa de los Azulejos palace, ca. 1737,[40] Mexico City, Mexico.](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aCasa_de_Azulejos_3.jpg)
![Azulejos of the facade made between 1650 and 1750[41] with Talavera pottery. Church of San Francisco Acatepec in San Andrés Cholula, Mexico.](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aVista_de_la_Fachada_del_Templo_de_San_Francisco_Acatepec_9.jpg)
In the first half of the 19th century, there was a stagnation in the production of decorative tiles, owing first to theincursion of the Napoleonic army and later to social and economic changes. When around 1840 immigrant Brazilians started an industrialized production inPorto, the Portuguese took over the Brazilian fashion of decorating the façades of their houses withazulejos. While these factories produces high-relief tiles in one or two colours, the Lisbon factories started using another method: thetransfer-print method on blue-and-white or polychromeazulejos. In the last decades of the 19th century, the Lisbon factories started to use another type of transfer-printing: usingcreamware blanks.
While these industrialized methods produced simple, stylized designs, the art of hand-painting tiles was not dead, as applied byManuel Joaquim de Jesus and especiallyLuís 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 asFerreira das Tabuletas, with flower vases, trees, and allegorical figures, applying thetrompe-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]
![Jardines del Prado garden in Talavera de la Reina, Spain. Built in 1864.[43]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aTalavera_de_la_Reina_-_Jardines_del_Prado_22.jpg)
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At the start of the 20th century,Art Nouveau azulejos started to appear from artists such asRafael Bordalo Pinheiro,Júlio César da Silva andJosé António Jorge Pinto. In 1885 Rafael Bordalo Pinheiro founded aceramics factory inCaldas 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 theZé 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 theSão Bento railway station in Porto, created byJorge 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 withazulejos 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 includeMário Branco andSilvestre Silvestri, who decorated in 1912 the lateral façade of the Carmo Church, andEduardo Leite for his work on the Almas Chapel (imitating the style of the 18th century), both in Porto.
20th-century artists includeJorge Barradas,Carlos Botelho,Jorge Martins,Sá Nogueira,Menez andPaula Rego.Maria Keil designed the large abstract panels in the initial nineteen stations of theLisbon Underground (between 1957 and 1972). Through these works she became a driving force in the revival and the updating of the art of theazulejo, which had gone in some decline. Her decorations of the stationIntendente is considered a masterpiece of contemporarytile art.[46]
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![One of the several tiled benches of the Plaza 25 de Julio built in 1917,[47] Santa Cruz de Tenerife, Canary Islands](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aPatos_19.jpg)
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![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]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aParede_da_Esta%25C3%25A7%25C3%25A3o_de_S%25C3%25A3o_Bento.jpg)
![Azulejos in Parc du Portugal, founded in 1953,[48] Little Portugal, Montreal, Canada](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aFonteparcduportugal.JPG)
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Azulejo tiles are present in almost every station in theLisbon Metro system.Initially, painterMaria Keil (1914–2012), wife of metro system architectFrancisco 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 deSá Nogueira in Laranjeiras,Júlio Pomar in Alto dos Moinhos,Manuel Cargaleiro inColégio Militar/Luz, andMaria Helena Vieira da Silva inCidade Universitária. Following on from this, many artists have been commissioned to decorate new and refurbished stations.
| 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 |
Tiles are vulnerable tovandalism, 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 instreet fairs and theblack 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 ofPolícia 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]
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