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| Manueline | |
|---|---|
   Top to bottom:Belém Tower inLisbon (1514–1519);Chapel of São Miguel at theUniversity of Coimbra inCoimbra (1517-1522); and the altar of the church of theMonastery of Jesus of Setúbal inSetúbal (1491-1495) | |
| Years active | c. 1490s-1520s |
| Location | Europe, the Americas, Africa and Asia |
TheManueline (Portuguese:estilo manuelino,IPA:[ɨʃˈtilumɐnweˈlinu]), occasionally known asPortuguese late Gothic, is the sumptuous, compositePortuguese architectural style originating in the 16th century, during thePortuguese Renaissance andAge of Discoveries. Manueline architecture incorporates maritime elements and representations of the discoveries brought from the voyages ofVasco da Gama andPedro Álvares Cabral. This innovative style synthesizes aspects of Late GothicFlamboyant architecture with original motifs and influences of thePlateresque,Mudéjar,Italian, andFlemish architecture. It marks the transition from Late Gothic toRenaissance. The construction of churches and monasteries in Manueline was largely financed by proceeds of the lucrativespice trade with Africa and India.
The style was given its name, many years later, byFrancisco Adolfo de Varnhagen, Viscount of Porto Seguro, in his 1842 bookNoticia historica e descriptiva do Mosteiro de Belem, com um glossario de varios termos respectivos principalmente a architectura gothica, in his description of theJerónimos Monastery. Varnhagen named the style afterKing Manuel I, whose reign (1495–1521) coincided with its development. The style was much influenced by the astonishing successes of thevoyages of discovery of Portuguese navigators, from the coastal areas of Africa to the discovery of Brazil and the ocean routes to the Far East.
Although the period of this style did not last long (from 1490 to 1520), it played an important part in the development of Portuguese art. The influence of the style outlived the king. Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals,faience and furniture.
This decorative style is characterized by virtuoso complex ornamentation in portals, windows, columns and arcades. In its end period, it tended to become excessively exuberant as inTomar.
Several elements appear regularly in these intricately carved stoneworks:
When King Manuel I died in 1521, he funded 62 construction projects. However, much original Manueline architecture in Portugal was lost or damaged beyond restoration in the1755 Lisbon earthquake and subsequenttsunami. InLisbon, theRibeira Palace, the residence of King Manuel I, and theHospital Real de Todos os Santos were destroyed, along with several churches. The city, however, still has outstanding examples of the style in theJerónimos Monastery (mainly designed byDiogo Boitac andJoão de Castilho) and in the small fortress of theBelém Tower (designed byFrancisco de Arruda). Both are located close to each other in theBelém neighbourhood. The portal of theChurch of Nossa Senhora da Conceição Velha, indowntown Lisbon, has also survived destruction.
Outside Lisbon, the church and chapter house of theConvent of Christ atTomar (designed byDiogo de Arruda) is a major Manueline monument. In particular, the large window of the chapter house, with its fantastic sculptured organic and twisted rope forms, is one of the most extraordinary achievements of the Manueline style.
Other major Manueline monuments include the arcade screens of the Royal Cloister (designed byDiogo Boitac) and theUnfinished Chapels (designed byMateus Fernandes) at theMonastery of Batalha and theRoyal Palace of Sintra.
Other remarkable Manueline buildings include the church of theMonastery of Jesus of Setúbal (one of the earliest Manueline churches, also designed by Diogo Boitac), theSanta Cruz Monastery inCoimbra, the main churches inGolegã,Vila do Conde,Moura,Caminha,Olivença and portions of the cathedrals ofBraga (main chapel),Viseu (rib vaulting of the nave) andGuarda (main portal, pillars, vaulting). Civil buildings in Manueline style exist inÉvora (home to the Évora Royal Palace of 1525, by Pedro de Trillo, Diogo de Arruda and Francisco de Arruda) and theCastle of Évoramonte of 1531),Viana do Castelo,Guimarães and some other towns.
The style was extended to the decorative arts and spread throughout thePortuguese Empire, to the islands of theAzores,Madeira, enclaves inNorth Africa,Brazil,Goa inPortuguese India and evenMacau, China. Its influence is apparent in southern Spain, the Canary Islands, North Africa and the former Spanish colonies of Peru and Mexico.
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