Versão portuguesa aqui.

GPS 38.294430159787275, -8.226996055604975

With an aesthetic of transition between late-baroque and neoclassicism, the Porto Côvo palace is one of the most significant examples of a palace from the last quarter of the 18th century. Noteworthy, the structure of the interiors of the palace underwent few changes, presenting a space program of great coherence. In addition to the entrance sequence and noble staircases, the palace received a decorative program of great aesthetic quality, which highlights not only the tiles, but above all, the paintings of a strong neoclassical taste that spread over the walls and ceilings of the most varied spaces.

Urban and Landscape Setting

Inserted into the urban fabric, the Porto Côvo palace is located in the parish of Lapa, on Rua de São Domingos, nos. 35 to 39, where the main facade of the building is located, facing southeast.

The building is confined between a residential building to the Southwest and the chapel attached to the palace facade to the Northeast.

The plot of land where it is located corresponds to the oblique design of a listed irregular hexagonal “L” polygon, with the back area of ​​the garden being the most extensive.

The morphology of the land presents a descending slope, from Northeast to Southwest, along Rua de São Domingos à Lapa, and ascending, from the main facade to the back of the lot, to the Northwest.

Morphology and Composition

The building's morphology corresponds to the composition of an irregular prism, expressed in the longitudinal plan in a slightly pronounced "U".

With a total of three floors, respectively 0, 1 and 2, the palace has a clear distribution program. The divisions are mostly orthogonal, with the exception of the divisions located at the lateral ends of the palace where the blind walls are oblique. In line with the main façade, the palace retains the chapel (today detached from its complex), with direct access to Rua de São Domingos.

The interior vertical communication is made by a state staircase, a private/service staircase and another service staircase. This is a product of the last intervention, it being clear that the location and primitive functions of this area point to the existence of a service staircase in the initial design.

The noble staircase is located in the center of the palace, in direct communication with the noble floor and has the typology of a “royal staircase”. This is characterized by ample ceiling height, a central section that leads to an intermediate landing, from which two parallel sections develop in the opposite direction, ending in a landing on the main floor. This landing communicates with a longitudinal distribution corridor along the entire length of the building and with a room corresponding to the former vacant room.

The private staircase is located in the center of the top right side, northeast of the palace, next to the chapel, to which there was communication, now closed, on the first landing. This staircase also serves the services, as demonstrated by the connection and proximity to the kitchen on the ground floor and the communication with all floors of the palace.

The service staircase was located in the center of the top left side, southwest of the palace, immediately after the stables and stables.

Horizontal communication takes place through intercommunicating divisions and corridors of regular and orthogonal design. The two exceptions are located at the right end of the palace, to the north, and correspond to two corridors with an oblique configuration.

Main Facade

The front has a symmetrical design with a strong presence of horizontality, accentuated by the frieze separating the ground and main floors. The symmetry is only interrupted on the roof, by a small towered body on the left and four dormers.

The axial marking is pronounced by a triangular pediment, in the center of the sequence of openings with stonework moldings, in the linear extension of the facade. The vertical division corresponds to five panels inscribed between Tuscan pilasters and encloses fifteen vertical alignments of spans, distributed rhythmically: 2|4|3|4|2.

The central set with pilasters and triangular pediment, topped by three urns and pilasters on two floors, marks the center of the main floor with a balcony and balcony common to the three bays. On the ground floor, in the center, the portal, with an arched lintel, is flanked by two chest windows, with a curvilinear lintel with a rosette.

The ground floor has thirteen chest windows, almost joined to the bay windows on the main floor, and two portals, the main one, with an arched frame, gives access to the vestibule and a lateral one corresponds to the old entrance to the carriage house.

The main floor has fifteen bay windows with a lacquered wrought iron balcony. The corbels, the frieze and the upper trim of the bay windows and the tympanum cartouche of the pediment, decoratively mark the noble floor, topped by a cornice topped by a platband, interrupted by the pediment of the central panel with coat of arms.

Secondary Facades

Rear facade

The rear façade facing the interior garden, to the northwest, has a vertical development in its symmetrical composition, as opposed to the main façade, with the spans being well insulated by floor: lower bedroom, noble floor and upper bedroom.

With two salient collateral bodies and three well-demarcated floors, with a slightly pronounced “U” shape, the central nucleus stands out, whose vertical rhythm corresponds to the marking of the spans, separated by pilasters, in 4|5|4. The central panel has a triangular pediment surmounted by three stone urns. At the top of the platband there are two gargoyles flanking the central panel and one on the left side, to the North. This body, with two panels and three pilasters, is more than twice the size of its opposite with a single panel and two pilasters.

The ground floor is covered in polychrome tiles with a tropical flora theme in shades of green and yellow. The straight lintel openings correspond to six doors to the garden and nineteen chest windows. The central nucleus presents the symmetry marking of four doors and nine chest windows, in the rhythm 1|3|1|3|1|3|1.

The main floor has fifteen bay windows with access to the balcony, three of which correspond to the state staircase box. The two collateral bodies have six bay windows, two common balcony windows, at the tops facing the garden and two doors facing the longitudinal balcony, from which access to the garden is taken by two straight staircases, adjacent to the side bodies of the building. palace. All spans have straight lintels and are delimited by blue and white tiles.

The 2nd floor or high room, with a Pombaline expression in its 27 chest windows, with a guillotine frame and straight lintel, presents a great distance from the main floor, with the large size of the pilasters and corners an element of vertical reinforcement. The rhythm evidenced by the bordering of the blue and white tiles and demarcation by pilasters, change of plan or corner, corresponds to an interior symmetry, only interrupted at the tops of the collateral bodies (from Northeast to Southwest).

Cronologia e Proprietários

Século XVIII

Último quartel – o palácio foi mandado construir por Jacinto Fernandes Bandeira (1745-1806), escrivão do Desembargo do Paço, abastado comerciante e senhor de rendosos contratos (das baleias e do sal do Brasil, do pau-brasil, do tabaco e da Casa da Índia, entre outros), possivelmente a partir de projecto do arquitecto Joaquim de Oliveira.

1793 – o palácio estava já concluído. Nesse ano, o barão de Porto Côvo mandou iluminar e decorar a fachada do seu palácio e da capela, em homenagem ao nascimento da princesa da Beira, a filha primogénita do infante D. João e de D. Carlota Joaquina.

Século XIX

1805 - Jacinto Fernandes Bandeira recebeu o título de 1º barão de Porto Côvo, pouco antes de morrer em 1806.

1806 – o palácio foi herdado pelo sobrinho, Jacinto Fernandes da Costa Bandeira (1777 - 1818), alcaide-mor de Vila Nova de Milfontes, passando após a sua morte em 1818 para o seu irmão, Joaquim Costa Bandeira (1796 - 1856), 2.º barão, 1.º visconde e 1.º conde de Porto Côvo da Bandeira.

1º quartel – conclusão da decoração interior e revestimento de azulejos da fachada sobre os jardins.

Século XX

1937 – morreu o 3.º conde do Porto Côvo, Alberto Júlio da Costa Lobo da Bandeira.

1940, Dezembro – aquisição do palácio pelo Reino Unido que nele instalou a Embaixada Britânica em Lisboa.

1941, Dezembro – leilão do recheio do palácio.

1943, Fevereiro – a capela do palácio foi comprada pelo Patriarcado de Lisboa.

1995 – venda do palácio à Companhia de Seguros Lusitânia.

1996 / 2002 – obras de restauro e adaptação às novas funções.

Chronology and Owners

XVIII century

Last quarter – the palace was built by Jacinto Fernandes Bandeira (1745-1806), clerk of the Desembargo do Paço, wealthy merchant and owner of profitable contracts (whales and salt from Brazil, brazilwood, tobacco and the Casa of India, among others), possibly based on a project by architect Joaquim de Oliveira.

1793 – the palace was completed. That year, the baron of Porto Côvo had the facade of his palace and chapel lit and decorated, in honor of the birth of the princess of Beira, the firstborn daughter of Infante D. João and D. Carlota Joaquina.

XIX century

1805 - Jacinto Fernandes Bandeira received the title of 1st baron of Porto Côvo, shortly before dying in 1806.

1806 – the palace was inherited by his nephew, Jacinto Fernandes da Costa Bandeira (1777 - 1818), mayor of Vila Nova de Milfontes, passing after his death in 1818 to his brother, Joaquim Costa Bandeira (1796 - 1856), 2nd baron, 1st viscount and 1st count of Porto Côvo da Bandeira.

1st quarter – completion of the interior decoration and tile covering of the facade over the gardens.

20th century

1937 – the 3rd Count of Porto Côvo, Alberto Júlio da Costa Lobo da Bandeira, died.

1940, December – acquisition of the palace by the United Kingdom, which installed the British Embassy in Lisbon.

1941, December – auction of the palace contents.

1943, February – the palace chapel was purchased by the Patriarchate of Lisbon.

1995 – sale of the palace to Lusitânia Insurance Company.

1996 / 2002 – restoration works and adaptation to new functions.

Documentation

Historical Memories of the Serenissimo Senhor Don Antonio Principe da Beira. Second Part, which refers to the thanksgiving to God Our Lord, for the very happy Birth of His Highness, and the public celebrations, with which he was applauded by the General Intendant of the Police of the Court, and Reyno de Portugal; and by the Noblemen of the First Nobility mentioned in their place. Author Ignacio de Souza e Menezes. Lisbon, In the workshop of Jozé Aquino Bulhoens. Year 1796, pp. 38-45. Description of the interior of the palace, with the functions and decoration of some of the rooms on the main floor.

Photo gallery and description of the floors/rooms

Floor 0

The ground floor communicates with Rua de São Domingos and the garden at the back of the plot. The signs of decoration, distributive and spatial organization of the functions performed identify a service area and a private area. Apparatus access is made through the lobby and noble staircase, located in the center of the building. The service areas correspond to the former coach house located at the top left, south of the main façade. This division intercommunicates with the stables division. The other area corresponds to the kitchen and is located at the north end.

Floor 1

The apparatus area is located on the 1st floor, with wide intercommunicating divisions of orthogonal design. They are distributed perpendicularly to the main façade and the back façade. At the center of the palace, there is a longitudinal corridor along its entire length that allows independent communication between rooms, noble, private and service stairs. The rooms facing the garden are also private and open to the outside through the longitudinal veranda. From here, access to the garden is via two stairs with two flights and a landing, located at the ends of the balcony following the U-shaped design at the back of the palace.

Floor 2

The palace's private area faces the garden, with intercommunicating rooms, and the main façade in the northeast area. This set of rooms also has a central corridor that communicates with the garden, the kitchen and the chapel, through the first level of the private staircase.

About the organization of the interior distribution of the 2nd floor, altered by the last intervention carried out in the palace, little can be said. However, the private staircase, preserved during the intervention, attests to the private communication with this floor, which indicates the existence of a private area. By reading the facades and volume of the building, this area would have existed at the top left of the main facade, to the Southwest, where the turret is still preserved, and along its entire length facing the garden, to the Northwest, where the rear facade retains, on the 2nd floor, 25 vertically aligned sash windows with the spans on the lower floors. The remaining mansard space, facing the main facade, with four dormers, was occupied by a service area, likely accommodation for servants.

Floor 0, division 2

Polychrome tile paneling from the 2nd half of the 18th century. Panels decorated with flowers and geometric motifs, delimited by stylized vegetal elements. Baseboard with marble.

Floor 0, division 3

Walls covered with blue and white tiles from the 2nd half of the 18th century. Monochromatic panels delimited by a border with a frieze of ovules and marbled. Panel of figurative polychrome tiles from the 2nd half of the 18th century, with a maritime scene, delimited by an ornate frame with architectural and vegetal elements, shell and marbled. Lambril and angles of marbled tiles.

Floor 0, division 4

Polychrome tile paneling with a “Pombaline” pattern from the 2nd half of the 18th century. Panels decorated with flowers and foliage, bordered by an ornamental border with intricate loops and triangles. Baseboard and cornerstone with marbled tiles.

Floor 1 room 4

Polychrome figurative tile paneling from the 2nd half of the 18th century. Panels with narrative action scenes in rural landscapes, delimited by an ornamental border with geometric, shell, foliage and marbled elements. Footer with tiles decorated with stylized and marbled geometric and vegetal elements.

Floor 1, division 5

Sections of 19th-century polychrome tile wainscoting. Panels decorated with foliage, delimited by an ornamental border with braids, flowers and foliage. Footer with marbled tiles.

Floor 1, division 7

Polychrome figurative tile paneling from the 2nd half of the 18th century. Panels with narrative action scenes in rural landscapes, delimited by an ornamental border with geometric, shell, foliage and marbled elements. Footer with tiles decorated with stylized and marbled geometric and vegetal elements.

Floor 1, division 8

Wainscoting of polychrome tiles from the 2nd half of the 18th century. Panels decorated with geometric elements, garlands, fruits and flowers, delimited by an ornamental border with geometric and marbled elements. Tiled skirting board with marbled.

Floor 1, division 11

Wainscoting of polychrome tiles with a “pombalino” pattern from the 2nd half of the 18th century. Panels decorated with geometric elements, flowers and foliage, delimited by an ornamental border with geometric and marbled elements. Skirting board with marbled tiles.

Floor 1, division 13

Wainscoting sections of figurative polychrome tiles from the 2nd half of the 18th century. Panels with scenes in rural landscapes, delimited by an ornamental border with shells, foliage and marble. Tiled skirting board with marbled.

Floor 1 division 2

Sanctified ceiling, rectangular in plan. On the oblique panels, alternating with painted panels, there are panels decorated with motifs in relief stucco, inspired by the “new grotesques” divulged by the engravings of J. D. Dugourc: hybrid figures of boys confronted with acanthus petticoats and a “candelabra” with hybrid figures of boys with flower vases on their heads, birds and acanthus curls. Stucco from the last quarter of the 18th century.

Floor 1, division 5

Sanctified ceiling, rectangular in plan. The central panel of the ceiling is framed by two bands decorated with greeks and by interlaced logs that also surround the central panel, where a mythological painting is depicted. In the corners of the ceiling there are masks wrapped in acanthus foliage. Stucco from the last quarter of the 18th century.

Floor 0, division 5

Ceiling with decorative painting from the 1st half of the 19th century. Medallions at the top of the ceiling with a central finial in trompe l’oeil framed by garlands and a frieze of flowers.

Floor 1, division 1

Ceiling with decorative painting from the 1st half of the 19th century, attributed to Cyrilo Wolkmar Machado. Medallion in the center of the ceiling with the representation of Jupiter, framed by a background in trompe l’oeil imitating stucco, with a grid and finials, and crown molding decorated with a frieze with plant scrolls.

Floor 1, division 2

Ceiling with decorative painting from the 1st half of the 19th century. Central reserve with a mythological scene, representing Mercury with a rooster and angels with a cornucopia, framed by a border with intricate wreaths in foliage and masks of animals and birds in the corners. Molding with medallions with figures in rural and river landscapes and bird reserves, framed by friezes with foliage and flowers.

Floor 1, division 3

Walls and ceiling with decorative painting from the 1st half of the 19th century. Composition formed by a central reserve at the top of the ceiling with an allegorical set, attributed to Cirilo Wolkmar Machado, representing Mercury, Terpsichore, Euratus, Euterpe, Melpomene, Polymnia, Urania, Calliope, Clio and Talia. Frame composed of sections decorated with frowns, medallions with attributes linked to the Liberal Arts, winged figures, vegetal scrolls, scenes with musicians and dancers, flower crowns, griffins with caduceus and fantastic animals with horse heads. Molding composed of sections decorated with Atlanteans, sphinxes, musical instruments with staves, winged figures, vegetal windings and friezes with intertwined lines and ribbons. Walls with a frieze, at the top, decorated with stylized leaves interspersed with rosettes and animal masks. The shaft of the pilasters is decorated with plant scrolls and birds and, at the base and plinth, with marble. Doorways with foliage and framed mirrors with friezes of sinuous ribbons and flowers.

Floor 1, division 4

Ceiling and walls with decorative painting from the 18th/19th century. Ceiling with a central medallion representing angels with staves and a musical instrument, framed by reserves in the four corners decorated with musical instruments and foliage. Sectional molding with reserves decorated with medallions with angels, winged figures, fireworks, plant scrolls and friezes with foliage. Walls with panels of medallions topped with foliage, flowers and bows, with scenes of figures in rural and river landscapes, framed in friezes of foliage and flowers.

Floor 1, division 5

Ceiling and walls with decorative painting from the 1st half of the 19th century. Composition formed by an elliptical reserve in the center of the ceiling with an allegorical set representing Jupiter on an eagle, Juno or Dodona, the Painting with the inscription on the chest “PARRHASIUS”, Minerva and other figures. Octagonal reserves at the ends of the ceiling with scenes of angels and a frame with foliage, masks, urns, birds and flowers. Border with intertwined lines and trompe l’oeil rosettes. Molding decorated with architectural elements in trompe l’oeil, atlanteans, attributes of the Liberal Arts hanging in masks and garlands and on cartouches and, in the four corners, reserves that frame birds and a lion.

Floor 1, division 6

Ceiling and walls with decorative painting from the 1st half of the 19th century. Ceiling with a central medallion with an allegory with two angels, framed by friezes with foliage and intricate ribbons. Surround with a composition formed by a background of ribbons, wreaths, foliage and finials, which frame reserves with scenes representing the four continents alternated by reserves, in the four corners, with trophies.

Floor 1, division 7

Ceiling with decorative painting from the 1st half of the 19th century. Ceiling with a floral set in the center framed by garlands and a surround made up of stylized plant scrolls, flower garlands and urns.

Floor 1, division 8

Ceiling and walls with decorative painting from the 1st half of the 19th century. Composition formed by a reserve in the center with an allegorical set representing Hebe, framed by reserves with flower crowns at both ends. Sectioned fence with reserves decorated with representations of fauns in medallions, a bird with a water jug, an angel at a bonfire, a basket of grapes, agricultural utensils, hunting animals and fish, with frames made up of grotesqueries, frowns, vines, bows, flowers, fruits , stylized vegetal scrolls and amphorae. Walls with vines, winged swans, Atlanteans with baskets of fruit, fruits, exotic birds, feathers and flowers. Lower finish decorated with a frieze composed of urns with vegetal scrolls.

Floor 1, division 9

Ceiling with decorative painting from the 1st half of the 19th century. Ceiling with a floral set in the center framed by garlands and a frieze of branches and bows. Border composed of friezes with intertwined lines that frame branches of foliage and flowers with bows.

Floor 1, division 10

Ceiling with decorative painting from the 1st half of the 19th century. Composition formed by a reserve in the center with a scene representing angels with musical instruments, grapes and a cornucopia of flowers, framed by foliage, bows and birds. Molding with friezes of foliage and reserves decorated with panels with fruits framed by birds, garlands and vegetal windings and, in the four corners, carrancas with baskets of fruits, birds with their necks intertwined and vegetal windings.

Floor 1, division 12

Ceiling with decorative painting from the 1st half of the 19th century. Reserve at the top of the ceiling with a mythological allegory representing love in the day and night, framed by a border decorated with fires, vegetal windings, flowers, frowns and pigeons, bows, arrows, torch, wreaths of flowers and fruits. Molding composed of flower friezes and stucco panels interspersed with scenes with angels framed by foliage, dragonflies and bows.

Floor 1, division 13

Ceiling with decorative painting from the 1st half of the 19th century. Ceiling with a wreath of flowers in the center framed by flower friezes, peacock feathers and trompe l’oeil rosettes. Molding composed of friezes with intertwined lines and reserves with flower crowns and rings, framed by arabesques, separated by trompe l’oeil rosettes and acanthus leaves on a vermiculure background and, in the four corners, finished with feathers.

Floor 0, division 1

Door fittings in sheet metal with lanceolate finishes.

Large full limestone arch flanked by double paneled pilasters topped by voluted stipules, supported by small vegetal corbels and topped by a capital decorated with stylized leaves.

Straight limestone lintel door topped by a four-lobed oculus with a stone frame.

Pavement paved with white, black and red limestone composing a large carpet with a checkerboard pattern, surrounded by a small geometric composition of staggered rectangles.

Floor 0, division 5

Depressed arch with marbled soffit and fronts profiled by golden frieze imitating bundles of wicker wrapped in nasters. At the top of the pilasters of the jambs hang relief festoons held by ribbons and the Ionic capitals that top them have ovule decoration centered on a shell and a flowery garland suspended from the volutes.

Floor 1, division 3

Golden armchair with column legs, elliptical back, arms topped with volutes and profiled by intertwined circles; cushioned seat, back and arms covered in light blue damask fabric with gold finials.

Full list of Geochaching below:

https://mirror.xyz/madeinpt.eth/I5tjF3sn6ugnUw3nBnKOpOUr2DEh_g6cTN-0hivKCgc

Versão portuguesa aqui.

GPS 38.294430159787275, -8.226996055604975

With an aesthetic of transition between late-baroque and neoclassicism, the Porto Côvo palace is one of the most significant examples of a palace from the last quarter of the 18th century. Noteworthy, the structure of the interiors of the palace underwent few changes, presenting a space program of great coherence. In addition to the entrance sequence and noble staircases, the palace received a decorative program of great aesthetic quality, which highlights not only the tiles, but above all, the paintings of a strong neoclassical taste that spread over the walls and ceilings of the most varied spaces.

Urban and Landscape Setting

Inserted into the urban fabric, the Porto Côvo palace is located in the parish of Lapa, on Rua de São Domingos, nos. 35 to 39, where the main facade of the building is located, facing southeast.

The building is confined between a residential building to the Southwest and the chapel attached to the palace facade to the Northeast.

The plot of land where it is located corresponds to the oblique design of a listed irregular hexagonal “L” polygon, with the back area of ​​the garden being the most extensive.

The morphology of the land presents a descending slope, from Northeast to Southwest, along Rua de São Domingos à Lapa, and ascending, from the main facade to the back of the lot, to the Northwest.

Morphology and Composition

The building's morphology corresponds to the composition of an irregular prism, expressed in the longitudinal plan in a slightly pronounced "U".

With a total of three floors, respectively 0, 1 and 2, the palace has a clear distribution program. The divisions are mostly orthogonal, with the exception of the divisions located at the lateral ends of the palace where the blind walls are oblique. In line with the main façade, the palace retains the chapel (today detached from its complex), with direct access to Rua de São Domingos.

The interior vertical communication is made by a state staircase, a private/service staircase and another service staircase. This is a product of the last intervention, it being clear that the location and primitive functions of this area point to the existence of a service staircase in the initial design.

The noble staircase is located in the center of the palace, in direct communication with the noble floor and has the typology of a “royal staircase”. This is characterized by ample ceiling height, a central section that leads to an intermediate landing, from which two parallel sections develop in the opposite direction, ending in a landing on the main floor. This landing communicates with a longitudinal distribution corridor along the entire length of the building and with a room corresponding to the former vacant room.

The private staircase is located in the center of the top right side, northeast of the palace, next to the chapel, to which there was communication, now closed, on the first landing. This staircase also serves the services, as demonstrated by the connection and proximity to the kitchen on the ground floor and the communication with all floors of the palace.

The service staircase was located in the center of the top left side, southwest of the palace, immediately after the stables and stables.

Horizontal communication takes place through intercommunicating divisions and corridors of regular and orthogonal design. The two exceptions are located at the right end of the palace, to the north, and correspond to two corridors with an oblique configuration.

Main Facade

The front has a symmetrical design with a strong presence of horizontality, accentuated by the frieze separating the ground and main floors. The symmetry is only interrupted on the roof, by a small towered body on the left and four dormers.

The axial marking is pronounced by a triangular pediment, in the center of the sequence of openings with stonework moldings, in the linear extension of the facade. The vertical division corresponds to five panels inscribed between Tuscan pilasters and encloses fifteen vertical alignments of spans, distributed rhythmically: 2|4|3|4|2.

The central set with pilasters and triangular pediment, topped by three urns and pilasters on two floors, marks the center of the main floor with a balcony and balcony common to the three bays. On the ground floor, in the center, the portal, with an arched lintel, is flanked by two chest windows, with a curvilinear lintel with a rosette.

The ground floor has thirteen chest windows, almost joined to the bay windows on the main floor, and two portals, the main one, with an arched frame, gives access to the vestibule and a lateral one corresponds to the old entrance to the carriage house.

The main floor has fifteen bay windows with a lacquered wrought iron balcony. The corbels, the frieze and the upper trim of the bay windows and the tympanum cartouche of the pediment, decoratively mark the noble floor, topped by a cornice topped by a platband, interrupted by the pediment of the central panel with coat of arms.

Secondary Facades

Rear facade

The rear façade facing the interior garden, to the northwest, has a vertical development in its symmetrical composition, as opposed to the main façade, with the spans being well insulated by floor: lower bedroom, noble floor and upper bedroom.

With two salient collateral bodies and three well-demarcated floors, with a slightly pronounced “U” shape, the central nucleus stands out, whose vertical rhythm corresponds to the marking of the spans, separated by pilasters, in 4|5|4. The central panel has a triangular pediment surmounted by three stone urns. At the top of the platband there are two gargoyles flanking the central panel and one on the left side, to the North. This body, with two panels and three pilasters, is more than twice the size of its opposite with a single panel and two pilasters.

The ground floor is covered in polychrome tiles with a tropical flora theme in shades of green and yellow. The straight lintel openings correspond to six doors to the garden and nineteen chest windows. The central nucleus presents the symmetry marking of four doors and nine chest windows, in the rhythm 1|3|1|3|1|3|1.

The main floor has fifteen bay windows with access to the balcony, three of which correspond to the state staircase box. The two collateral bodies have six bay windows, two common balcony windows, at the tops facing the garden and two doors facing the longitudinal balcony, from which access to the garden is taken by two straight staircases, adjacent to the side bodies of the building. palace. All spans have straight lintels and are delimited by blue and white tiles.

The 2nd floor or high room, with a Pombaline expression in its 27 chest windows, with a guillotine frame and straight lintel, presents a great distance from the main floor, with the large size of the pilasters and corners an element of vertical reinforcement. The rhythm evidenced by the bordering of the blue and white tiles and demarcation by pilasters, change of plan or corner, corresponds to an interior symmetry, only interrupted at the tops of the collateral bodies (from Northeast to Southwest).

Cronologia e Proprietários

Século XVIII

Último quartel – o palácio foi mandado construir por Jacinto Fernandes Bandeira (1745-1806), escrivão do Desembargo do Paço, abastado comerciante e senhor de rendosos contratos (das baleias e do sal do Brasil, do pau-brasil, do tabaco e da Casa da Índia, entre outros), possivelmente a partir de projecto do arquitecto Joaquim de Oliveira.

1793 – o palácio estava já concluído. Nesse ano, o barão de Porto Côvo mandou iluminar e decorar a fachada do seu palácio e da capela, em homenagem ao nascimento da princesa da Beira, a filha primogénita do infante D. João e de D. Carlota Joaquina.

Século XIX

1805 - Jacinto Fernandes Bandeira recebeu o título de 1º barão de Porto Côvo, pouco antes de morrer em 1806.

1806 – o palácio foi herdado pelo sobrinho, Jacinto Fernandes da Costa Bandeira (1777 - 1818), alcaide-mor de Vila Nova de Milfontes, passando após a sua morte em 1818 para o seu irmão, Joaquim Costa Bandeira (1796 - 1856), 2.º barão, 1.º visconde e 1.º conde de Porto Côvo da Bandeira.

1º quartel – conclusão da decoração interior e revestimento de azulejos da fachada sobre os jardins.

Século XX

1937 – morreu o 3.º conde do Porto Côvo, Alberto Júlio da Costa Lobo da Bandeira.

1940, Dezembro – aquisição do palácio pelo Reino Unido que nele instalou a Embaixada Britânica em Lisboa.

1941, Dezembro – leilão do recheio do palácio.

1943, Fevereiro – a capela do palácio foi comprada pelo Patriarcado de Lisboa.

1995 – venda do palácio à Companhia de Seguros Lusitânia.

1996 / 2002 – obras de restauro e adaptação às novas funções.

Chronology and Owners

XVIII century

Last quarter – the palace was built by Jacinto Fernandes Bandeira (1745-1806), clerk of the Desembargo do Paço, wealthy merchant and owner of profitable contracts (whales and salt from Brazil, brazilwood, tobacco and the Casa of India, among others), possibly based on a project by architect Joaquim de Oliveira.

1793 – the palace was completed. That year, the baron of Porto Côvo had the facade of his palace and chapel lit and decorated, in honor of the birth of the princess of Beira, the firstborn daughter of Infante D. João and D. Carlota Joaquina.

XIX century

1805 - Jacinto Fernandes Bandeira received the title of 1st baron of Porto Côvo, shortly before dying in 1806.

1806 – the palace was inherited by his nephew, Jacinto Fernandes da Costa Bandeira (1777 - 1818), mayor of Vila Nova de Milfontes, passing after his death in 1818 to his brother, Joaquim Costa Bandeira (1796 - 1856), 2nd baron, 1st viscount and 1st count of Porto Côvo da Bandeira.

1st quarter – completion of the interior decoration and tile covering of the facade over the gardens.

20th century

1937 – the 3rd Count of Porto Côvo, Alberto Júlio da Costa Lobo da Bandeira, died.

1940, December – acquisition of the palace by the United Kingdom, which installed the British Embassy in Lisbon.

1941, December – auction of the palace contents.

1943, February – the palace chapel was purchased by the Patriarchate of Lisbon.

1995 – sale of the palace to Lusitânia Insurance Company.

1996 / 2002 – restoration works and adaptation to new functions.

Documentation

Historical Memories of the Serenissimo Senhor Don Antonio Principe da Beira. Second Part, which refers to the thanksgiving to God Our Lord, for the very happy Birth of His Highness, and the public celebrations, with which he was applauded by the General Intendant of the Police of the Court, and Reyno de Portugal; and by the Noblemen of the First Nobility mentioned in their place. Author Ignacio de Souza e Menezes. Lisbon, In the workshop of Jozé Aquino Bulhoens. Year 1796, pp. 38-45. Description of the interior of the palace, with the functions and decoration of some of the rooms on the main floor.

Photo gallery and description of the floors/rooms

Floor 0

The ground floor communicates with Rua de São Domingos and the garden at the back of the plot. The signs of decoration, distributive and spatial organization of the functions performed identify a service area and a private area. Apparatus access is made through the lobby and noble staircase, located in the center of the building. The service areas correspond to the former coach house located at the top left, south of the main façade. This division intercommunicates with the stables division. The other area corresponds to the kitchen and is located at the north end.

Floor 1

The apparatus area is located on the 1st floor, with wide intercommunicating divisions of orthogonal design. They are distributed perpendicularly to the main façade and the back façade. At the center of the palace, there is a longitudinal corridor along its entire length that allows independent communication between rooms, noble, private and service stairs. The rooms facing the garden are also private and open to the outside through the longitudinal veranda. From here, access to the garden is via two stairs with two flights and a landing, located at the ends of the balcony following the U-shaped design at the back of the palace.

Floor 2

The palace's private area faces the garden, with intercommunicating rooms, and the main façade in the northeast area. This set of rooms also has a central corridor that communicates with the garden, the kitchen and the chapel, through the first level of the private staircase.

About the organization of the interior distribution of the 2nd floor, altered by the last intervention carried out in the palace, little can be said. However, the private staircase, preserved during the intervention, attests to the private communication with this floor, which indicates the existence of a private area. By reading the facades and volume of the building, this area would have existed at the top left of the main facade, to the Southwest, where the turret is still preserved, and along its entire length facing the garden, to the Northwest, where the rear facade retains, on the 2nd floor, 25 vertically aligned sash windows with the spans on the lower floors. The remaining mansard space, facing the main facade, with four dormers, was occupied by a service area, likely accommodation for servants.

Floor 0, division 2

Polychrome tile paneling from the 2nd half of the 18th century. Panels decorated with flowers and geometric motifs, delimited by stylized vegetal elements. Baseboard with marble.

Floor 0, division 3

Walls covered with blue and white tiles from the 2nd half of the 18th century. Monochromatic panels delimited by a border with a frieze of ovules and marbled. Panel of figurative polychrome tiles from the 2nd half of the 18th century, with a maritime scene, delimited by an ornate frame with architectural and vegetal elements, shell and marbled. Lambril and angles of marbled tiles.

Floor 0, division 4

Polychrome tile paneling with a “Pombaline” pattern from the 2nd half of the 18th century. Panels decorated with flowers and foliage, bordered by an ornamental border with intricate loops and triangles. Baseboard and cornerstone with marbled tiles.

Floor 1 room 4

Polychrome figurative tile paneling from the 2nd half of the 18th century. Panels with narrative action scenes in rural landscapes, delimited by an ornamental border with geometric, shell, foliage and marbled elements. Footer with tiles decorated with stylized and marbled geometric and vegetal elements.

Floor 1, division 5

Sections of 19th-century polychrome tile wainscoting. Panels decorated with foliage, delimited by an ornamental border with braids, flowers and foliage. Footer with marbled tiles.

Floor 1, division 7

Polychrome figurative tile paneling from the 2nd half of the 18th century. Panels with narrative action scenes in rural landscapes, delimited by an ornamental border with geometric, shell, foliage and marbled elements. Footer with tiles decorated with stylized and marbled geometric and vegetal elements.

Floor 1, division 8

Wainscoting of polychrome tiles from the 2nd half of the 18th century. Panels decorated with geometric elements, garlands, fruits and flowers, delimited by an ornamental border with geometric and marbled elements. Tiled skirting board with marbled.

Floor 1, division 11

Wainscoting of polychrome tiles with a “pombalino” pattern from the 2nd half of the 18th century. Panels decorated with geometric elements, flowers and foliage, delimited by an ornamental border with geometric and marbled elements. Skirting board with marbled tiles.

Floor 1, division 13

Wainscoting sections of figurative polychrome tiles from the 2nd half of the 18th century. Panels with scenes in rural landscapes, delimited by an ornamental border with shells, foliage and marble. Tiled skirting board with marbled.

Floor 1 division 2

Sanctified ceiling, rectangular in plan. On the oblique panels, alternating with painted panels, there are panels decorated with motifs in relief stucco, inspired by the “new grotesques” divulged by the engravings of J. D. Dugourc: hybrid figures of boys confronted with acanthus petticoats and a “candelabra” with hybrid figures of boys with flower vases on their heads, birds and acanthus curls. Stucco from the last quarter of the 18th century.

Floor 1, division 5

Sanctified ceiling, rectangular in plan. The central panel of the ceiling is framed by two bands decorated with greeks and by interlaced logs that also surround the central panel, where a mythological painting is depicted. In the corners of the ceiling there are masks wrapped in acanthus foliage. Stucco from the last quarter of the 18th century.

Floor 0, division 5

Ceiling with decorative painting from the 1st half of the 19th century. Medallions at the top of the ceiling with a central finial in trompe l’oeil framed by garlands and a frieze of flowers.

Floor 1, division 1

Ceiling with decorative painting from the 1st half of the 19th century, attributed to Cyrilo Wolkmar Machado. Medallion in the center of the ceiling with the representation of Jupiter, framed by a background in trompe l’oeil imitating stucco, with a grid and finials, and crown molding decorated with a frieze with plant scrolls.

Floor 1, division 2

Ceiling with decorative painting from the 1st half of the 19th century. Central reserve with a mythological scene, representing Mercury with a rooster and angels with a cornucopia, framed by a border with intricate wreaths in foliage and masks of animals and birds in the corners. Molding with medallions with figures in rural and river landscapes and bird reserves, framed by friezes with foliage and flowers.

Floor 1, division 3

Walls and ceiling with decorative painting from the 1st half of the 19th century. Composition formed by a central reserve at the top of the ceiling with an allegorical set, attributed to Cirilo Wolkmar Machado, representing Mercury, Terpsichore, Euratus, Euterpe, Melpomene, Polymnia, Urania, Calliope, Clio and Talia. Frame composed of sections decorated with frowns, medallions with attributes linked to the Liberal Arts, winged figures, vegetal scrolls, scenes with musicians and dancers, flower crowns, griffins with caduceus and fantastic animals with horse heads. Molding composed of sections decorated with Atlanteans, sphinxes, musical instruments with staves, winged figures, vegetal windings and friezes with intertwined lines and ribbons. Walls with a frieze, at the top, decorated with stylized leaves interspersed with rosettes and animal masks. The shaft of the pilasters is decorated with plant scrolls and birds and, at the base and plinth, with marble. Doorways with foliage and framed mirrors with friezes of sinuous ribbons and flowers.

Floor 1, division 4

Ceiling and walls with decorative painting from the 18th/19th century. Ceiling with a central medallion representing angels with staves and a musical instrument, framed by reserves in the four corners decorated with musical instruments and foliage. Sectional molding with reserves decorated with medallions with angels, winged figures, fireworks, plant scrolls and friezes with foliage. Walls with panels of medallions topped with foliage, flowers and bows, with scenes of figures in rural and river landscapes, framed in friezes of foliage and flowers.

Floor 1, division 5

Ceiling and walls with decorative painting from the 1st half of the 19th century. Composition formed by an elliptical reserve in the center of the ceiling with an allegorical set representing Jupiter on an eagle, Juno or Dodona, the Painting with the inscription on the chest “PARRHASIUS”, Minerva and other figures. Octagonal reserves at the ends of the ceiling with scenes of angels and a frame with foliage, masks, urns, birds and flowers. Border with intertwined lines and trompe l’oeil rosettes. Molding decorated with architectural elements in trompe l’oeil, atlanteans, attributes of the Liberal Arts hanging in masks and garlands and on cartouches and, in the four corners, reserves that frame birds and a lion.

Floor 1, division 6

Ceiling and walls with decorative painting from the 1st half of the 19th century. Ceiling with a central medallion with an allegory with two angels, framed by friezes with foliage and intricate ribbons. Surround with a composition formed by a background of ribbons, wreaths, foliage and finials, which frame reserves with scenes representing the four continents alternated by reserves, in the four corners, with trophies.

Floor 1, division 7

Ceiling with decorative painting from the 1st half of the 19th century. Ceiling with a floral set in the center framed by garlands and a surround made up of stylized plant scrolls, flower garlands and urns.

Floor 1, division 8

Ceiling and walls with decorative painting from the 1st half of the 19th century. Composition formed by a reserve in the center with an allegorical set representing Hebe, framed by reserves with flower crowns at both ends. Sectioned fence with reserves decorated with representations of fauns in medallions, a bird with a water jug, an angel at a bonfire, a basket of grapes, agricultural utensils, hunting animals and fish, with frames made up of grotesqueries, frowns, vines, bows, flowers, fruits , stylized vegetal scrolls and amphorae. Walls with vines, winged swans, Atlanteans with baskets of fruit, fruits, exotic birds, feathers and flowers. Lower finish decorated with a frieze composed of urns with vegetal scrolls.

Floor 1, division 9

Ceiling with decorative painting from the 1st half of the 19th century. Ceiling with a floral set in the center framed by garlands and a frieze of branches and bows. Border composed of friezes with intertwined lines that frame branches of foliage and flowers with bows.

Floor 1, division 10

Ceiling with decorative painting from the 1st half of the 19th century. Composition formed by a reserve in the center with a scene representing angels with musical instruments, grapes and a cornucopia of flowers, framed by foliage, bows and birds. Molding with friezes of foliage and reserves decorated with panels with fruits framed by birds, garlands and vegetal windings and, in the four corners, carrancas with baskets of fruits, birds with their necks intertwined and vegetal windings.

Floor 1, division 12

Ceiling with decorative painting from the 1st half of the 19th century. Reserve at the top of the ceiling with a mythological allegory representing love in the day and night, framed by a border decorated with fires, vegetal windings, flowers, frowns and pigeons, bows, arrows, torch, wreaths of flowers and fruits. Molding composed of flower friezes and stucco panels interspersed with scenes with angels framed by foliage, dragonflies and bows.

Floor 1, division 13

Ceiling with decorative painting from the 1st half of the 19th century. Ceiling with a wreath of flowers in the center framed by flower friezes, peacock feathers and trompe l’oeil rosettes. Molding composed of friezes with intertwined lines and reserves with flower crowns and rings, framed by arabesques, separated by trompe l’oeil rosettes and acanthus leaves on a vermiculure background and, in the four corners, finished with feathers.

Floor 0, division 1

Door fittings in sheet metal with lanceolate finishes.

Large full limestone arch flanked by double paneled pilasters topped by voluted stipules, supported by small vegetal corbels and topped by a capital decorated with stylized leaves.

Straight limestone lintel door topped by a four-lobed oculus with a stone frame.

Pavement paved with white, black and red limestone composing a large carpet with a checkerboard pattern, surrounded by a small geometric composition of staggered rectangles.

Floor 0, division 5

Depressed arch with marbled soffit and fronts profiled by golden frieze imitating bundles of wicker wrapped in nasters. At the top of the pilasters of the jambs hang relief festoons held by ribbons and the Ionic capitals that top them have ovule decoration centered on a shell and a flowery garland suspended from the volutes.

Floor 1, division 3

Golden armchair with column legs, elliptical back, arms topped with volutes and profiled by intertwined circles; cushioned seat, back and arms covered in light blue damask fabric with gold finials.

Full list of Geochaching below:

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