GPS 38.7194181633025, -9.132860186571106

A space that lives up to its name due to the fact that it is hidden from one of the most breathtaking views of Lisbon, the Miradouro da Senhora do Monte.

A place that, making use of the old typical backyards of the neighborhood, offers a varied environment and a view worthy of any rooftop.

Access is made by going down a staircase in front of the Chapel of Nossa Senhora do Monte.

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GPS 41.551415923227836, -8.420100518816946

This residential building, located on Avenida Central, is owned by the family with this name, and its construction dates back to the second half of the 18th century.

House interior

It is also known with an interesting reference to Casa da Avenida Central, 118-124. In fact, this residential building is located precisely on this avenue, right after the Congregados Church.

This, like so many others, were part of a late-baroque and rococo current, configuring the new space at Campo Sant'Ana.

Description

Possessing an interesting facade of civil architecture from Braga in the 18th century, Casa Rolão, with two floors and straight lines, follows lines of Rocaille influence, through the frames of the openings on the facade.

Delimited by corners of pilasters, the top is formed by an entablature topped by a balustrade with lateral vases.

The features are made up of four straight-framed doors on the ground floor, surmounted by as many windows, also straight-framed, which form part of the main floor of the house.

Classification

It is classified as a Property of Public Interest

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GPS 38.68388542981731, -9.159142182354696

Casa da Cerca or Palácio da Cerca is a historic palace located in Almada, in the current parish of Almada, Cova da Piedade, Pragal and Cacilhas, in the municipality of Almada.

The property, house and adjacent land, was acquired by the City Council in 1988. Recovered and adapted to the exhibition purposes for which it was intended, with a program outlined by its first director, the painter Rogério Ribeiro, it opened to the public in 1993, as Casa da Cerca - Center for Contemporary Art. The first exhibition focused on a core of the work of Amadeo de Souza-Cardoso.

Casa da Cerca has been classified as a Property of Public Interest since 1996.

Casa da Cerca - Center for Contemporary Art Casa da Cerca - Center for Contemporary Art is a research and dissemination center for contemporary art, with particular focus on the study of Drawing, located in Almada. The dissemination of contemporary Design, in all its aspects, has since then been its main function.

Exhibitions and Research Since the beginning of its history, Casa da Cerca – Centro de Arte Contemporânea has maintained among its objectives the research and wide dissemination of the relevance of Drawing, in history, with particular focus on the contemporary period. Over twenty-one years of activity, Casa da Cerca has already offered a significant diversity of exhibition proposals, including individual (105, to date), collective and thematic (39) exhibitions, having publicized the work of several hundred artists. national and foreign. To get to know these exhibitions, attend conferences, debates and free courses, and also to visit the garden and attend the annual parties and other cultural events, around 220,000 visitors passed through the House, of which around 32,000 were students, from all levels of education. , and from all over the country (and even some foreigners, in cooperation programs) who participated in pedagogical activities (guided visits and/or workshops).

Master Rogério Ribeiro Documentation and Research Center The creation of the embryonic nucleus of the current Documentation Center specialized in Drawing and contemporary Portuguese artists (and aimed at researchers) had as a corollary its opening to the public in 2008. a policy of exchanges and donations of artists' personal archives and libraries, the Mestre Rogério Ribeiro Documentation and Research Center already has 15,300 titles.

The Educational Service Formally organized in 1997, the Educational Service (SE) has a very comprehensive project, offering a pedagogical/playful component, allowing young people to have their first contact with plastic activities of a creative nature. From 1998 onwards, the SE began to propose programs related to the exhibitions, offering proposals for visitors from 3 years old and with no other age limit.

Communication Casa da Cerca has a website and a newsletter, which already has thousands of subscribers. In addition, every year since 2009, a House and Gardens Party has been held annually, a full day of recreational and cultural activities (Crafts and Design market, Picnic, Book blanket, Plastic workshops for all ages, guided visits to exhibitions patents and the garden, music, theater, relaxing massages, Yoga, Tai-chi, etc.), which has contributed in a very effective way to publicize the institution.

The Chão das Artes – Botanical Garden In June 2001, the Chão das Artes – Botanical Garden was inaugurated. A pioneering initiative in the specificity of articulating the scientific and artistic aspects, it was implemented in a project inspired by the traditional Portuguese garden of a recreational farm (origin of Casa da Cerca) which, in addition to the greenhouse and open-air amphitheater, is organized into six structuring areas, in which plants grow whose components originate materials used in the visual arts. The Garden is divided into the following areas: the Pigments Garden (in which species grow from whose flowers, leaves or rhizomes pigments are obtained); the Pomar das Gomas (where fruit trees, essentially of the genus Prunus, produce the gums used in painting); Jardim dos Pintores (in whose flowerbeds a painter is honored every year); the Garden of Oils (where you can find rosemary, rosemary, lavender, poppies, flax and other species that produce oils used in painting); the Jardim das Telas (with species such as flax and cotton) and the Mata (dedicated to wood for sculpture or altarpiece support, and to turpentine and varnishes). In addition to these structural nuclei, there is also a pond and tanks where papyrus and other plants from which paper is made grow (for paper, there is also a large bamboo area).

An investigation is underway on the history of the house and its surroundings. This farm was owned by the Barata-Feyo and Teotónio Pereira families.

GPS 38.707584874035255, -9.136411677517122

Praça do Comércio, still commonly referred to by its former name of Terreiro do Paço, is a square in downtown Lisbon located next to the Tagus River, in the area that was the site of the palace of the kings of Portugal for about two centuries and which today it is partially occupied by some government departments. It is one of the largest squares in Europe, measuring around 36,000 m² (180m x 200m). The square is bordered by 79 arches.

It is considered a historic symbol of political power and manifestation of capital in Portugal. This symbology is generally associated with state centralism.

In 1511, King D. Manuel I transferred his residence from Castelo de São Jorge to this location by the river. The Paço da Ribeira, as well as its library of 70,000 volumes, were destroyed by the earthquake of 1755. In the reconstruction, coordinated by Eugénio dos Santos, the square became a fundamental element of the plan of the Marquês de Pombal.

The buildings surrounding the square were, for decades, used by different ministries and other public institutions. Today its use is divided between government departments, cultural and promotional activities, hotels, restaurants and cafes.

It is in one of the buildings on the square that the famous Martinho da Arcada café is located, the oldest in Lisbon, and one of Fernando Pessoa's favourites.

After the Revolution of 1910 the buildings were painted pink. However, they have recently returned to their original color, yellow. The south side, with its two square towers, faces the Tagus.

It was for a long time the noble entrance to Lisbon and, on the marble steps of Cais das Colunas, coming from the river, heads of state and other prominent figures disembarked and were received.

In the center of the square, you can see the equestrian statue of D. José, erected in 1775 by Joaquim Machado de Castro, the main Portuguese sculptor of the 18th century.

On the north side of the square is the Rua Augusta Triumphal Arch, the entrance to Baixa.

The area served as a car park until the 1990s, but today this vast space is used for cultural events and shows.

Historical facts.

On December 1, 1640, the old square saw the end of the Iberian Union with the arrest of the Duchess of Mantua and the death of Secretary of State Miguel de Vasconcelos, who was thrown from a palace window into the Terreiro.

In the 1755 earthquake, where the buildings that make up Terreiro do Paço are now located, there was the Royal Palace, in whose library 70,000 volumes and hundreds of works of art were kept, including paintings by Titian, Rubens and Correggio. Everything was destroyed. The precious Royal Archives with documents relating to ocean exploration, among which, for example, numerous letters from the discovery of Brazil and other ancient documents were also lost.

On February 1, 1908, King D. Carlos and his son, Prince Real D. Luís Filipe, were murdered as they passed through the square.

During the Revolution of 1910, the square witnessed the landing of the Navy at Cais das Colunas to occupy strategic locations in the city. On October 5, 1910, in Praça do Município next to the terreiro, the Republic was proclaimed.

On February 18, 1957, Queen Elizabeth II of the United Kingdom disembarked at Cais das Colunas, on her visit to Portugal.

During the Estado Novo regime, some of the speeches by the President of the Council, Oliveira Salazar, were delivered at the windows of ministries, namely on 27 August 1963, in a grandiose demonstration of support for Portuguese overseas policy.

On April 25, 1974, the square witnessed one of the episodes of the revolution that overthrew the government of Marcello Caetano and the Estado Novo.

On May 11, 2010, Pope Benedict XVI celebrated the Eucharist in the square for about 280,000 people.

In 2016, the square once again hosted the celebrations of the Day of Portugal, Camões and the Communities that had not been held here since the end of the Estado Novo.

historical images

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GPS 38.69280268673781, -9.218003727646872

The Monument to Combatentes do Ultramar is located in the parish of Belém, very close to important landmarks of national identity. This set of buildings reflects the tensions triggered by the act of dealing with colonial history. The monument pays tribute to the soldiers who died in the colonial wars from 1961 to 1974. Its design suggests an uncritical approach to the legacy of the Estado Novo and colonial violence.

Veterans associations design a monument

Since the 1980s, some veterans' associations in Lisbon have been making efforts to erect a monument to the soldiers who fought in Portugal's African colonies between 1961 and 1974, more specifically in Angola, Guinea Bissau and Mozambique. In 1987, an executive commission was formed to plan and implement the memorial, chaired by General Altino Magalhães, then president of the Liga dos Combatentes. The General Staff of the Armed Forces and the then Minister of Defense, Fernando Nogueira (PSD), supported the intention to create the monument.

Already at that time, during the public debate, the project was sometimes seen critically. Duval Bettencourt Gomes, member of the Associação dos Combatentes do Ultramar and president of the National Commission in Memory of the Dead in the Effort of the Overseas War, declared to the weekly newspaper O Jornal, on September 11, 1987: "The dead should not be despised and no one should to be ashamed of having done military service in the colonies. […] The monument is not against anyone, but in favor of the pride and prestige of Portugal." The article in O Jornal linked the monument's project to the "return of a certain nationalism". One could read that the monument would adopt the rhetoric of the Estado Novo and its notion of "overseas provinces". At the same time, the project also excluded certain points of view: some associations were prevented from participating in the planning, as the newspaper Público reported years later. Among them was the Associação 25 de Abril whose members had actively participated in the revolution and in the overthrow of the authoritarian regime.

In 1987, the Portuguese Army and the city of Lisbon authorized the construction of the monument in Fort Bom Sucesso. It was the Ministry of Defense that, in financial terms, made it possible to carry out the project, by granting an amount of PTE 50 thousand, equivalent to EUR 250 thousand.

After holding a public tender in 1991, the executive committee selected the project by architect Guedes de Carvalho, which consisted of a large triangle implanted in the middle of a water surface. This geometric object refers to the former colonies of Angola, Guinea and Mozambique, where wars took place. According to General Altino Magalhães, the monument was intended to "contribute to the unification of all the peoples involved in the Overseas War, without constraints or resentments". However, that purpose would not be fulfilled, not least because the former Portuguese soldiers ended up, themselves, proving to be a divided group.

Controversy surrounding the inauguration of the monument

On January 15, 1994, in the midst of controversies and discussions, the Monument to Combatentes do Ultramar was inaugurated. The controversy was ignited by the presence of Mário Soares, the President of the Republic at the time. Soares was one of the most relevant players in the political changes that took place in 1974 and was a symbolic figure of opposition to the Salazar regime. Several veterans' organizations linked to the initiative to create the monument had already demanded that it be excluded from the inauguration. He was accused of being responsible for the "tragic process of decolonization". Such organizations thought that he was one of those politicians who had "wrongly" handed over power to independence movements.

The veterans' associations on the left also criticized Soares for his participation. Vasco Lourenço, president of the Associação 25 de Abril, did not participate in the opening ceremony and, in the edition of the weekly Expresso of January 15, 1994, stated that the monument distorted history: "The image that was intended and has managed to be created is the of a pastist, nostalgic monument that seeks more to justify the colonial war and the stubbornness that imposed it than the abnegation, courage and patriotism of those who made it and suffered it, became disabled or lost their lives."

At the ceremony, General Magalhães described the memorial as an act of justice towards the soldiers who had fought "overseas". Fernando Nogueira (PSD), then Defense Minister, also highlighted the memory of fallen soldiers in combat. He underlined that "we were not paying homage to a regime, a war or an era". In a tone contrary to these statements that aimed to depoliticize the act, Soares expressed doubts that the Portuguese soldiers had formed a homogeneous group. According to him, the monument was "for those who died overseas, regardless of their convictions, because many of those who died overseas in the service of the Fatherland did not agree with the colonial policy of the former regime". Many of the veterans present there took the speech as an affront, having booed the President of the Republic and called Soares a "traitor".

Alterations to the monument

After the turbulent inauguration, public discussion about the monument took place more calmly. Later, in 2000, the Monument to Combatentes do Ultramar was significantly expanded, with commemorative plaques added. General Baltazar Morais Barroco, then president of the Liga dos Combatentes, saw the change as a necessity, in order to "humanize" the memorial. The monumental triangle located in the middle of a surface of water is now framed on three sides by stone walls, on which the names of soldiers killed in combat can be read. There are about 9500 soldiers of the Portuguese armed forces who perished in the colonial wars. This expansion was carried out in cooperation with Associação 25 de Abril and APOIAR (Association for the Support of Ex-combatants, Victims of War Stress) and, from a financial point of view, it was made possible by the Ministry of Defense, then the minister José Veiga Simão. Nameplates seek to fulfill their function directly with the relatives of deceased soldiers, as well as their friends. Those who visit the monument will be able to find the name of their son or husband there. The abstract and monumental form of this memory thus experiences, through the memorial, a materialization and individualization. This is particularly important because part of the deceased soldiers were buried directly on the battlefield. To this extent, the memorial set also provides a space for the individual practice of mourning and the preservation of memory.

The official ceremonies of the associations are regularly held on the 10th of June, on the occasion of the Day of Portugal, Camões and the Portuguese Communities. That same date was celebrated during the authoritarian regime as Dia da Raça, and from 1961, in the central square of Terreiro do Paço, in Lisbon, the military began to be distinguished for the services rendered in the colonial wars, while in the case of soldiers killed in combat, posthumous honors were received by their relatives. Although the name of the holiday has changed, it is undeniable that the activities carried out around the monument reveal a certain continuity and proximity of relevant veterans' associations to sectors of the conservative and nostalgic right. Thus, it should be taken into account that, despite the installation of plaques with the names of soldiers in this monument and the work of preserving the memory carried out individually, the victims who were part of the independence movements or who simply belonged to the civilian population in the African colonies at the time.

The legacy of the "Overseas War" and the current debate on decolonization

Due to its privileged location in Belém and the claim to be a national monument, the Monument to Combatentes do Ultramar is an important example of the activities carried out by veterans associations in Portugal. However, this is just one example among many others, as shown in the book Monuments to the Fighters of the Great War and Overseas. For some years now, in memory of those who died in the Overseas War, similar monuments have been built in many places or existing memorials have been restored (for example, in Coimbra and Porto), with the controversial discussions around some of them. In this context, criticisms are expressed and demands for the decolonialization of the public space are formulated. In 2020, for example, when in some countries anti-racist initiatives led to the overthrow of several monuments, an action carried out by activists in Coimbra damaged the Monument to Heróis do Ultramar, with the word “heroes” being replaced by “murderers”. The legacy of Salazar's regime and the consequences of decolonization are still being felt in the present and such issues will henceforth have to be dealt with by Portuguese society. Taking into account the fact that this is a heterogeneous population and that many migrants also come from the former colonies, this is not an easy task, but it is of great importance. These debates are central for Portugal to assert its place in a democratic and post-colonial Europe.

Overseas War, Colonial War and War of Liberation

The expression "Overseas War" is associated with a perspective shaped by the official discourse of the authoritarian regime of the Estado Novo. Since the 1951 constitutional revision and in view of the anti-colonial position of the United Nations, the colonial empire was understood as a "pluricontinental nation" with "overseas provinces", so that, from a legal point of view, no domain was exercised over any colony. It was based on this legal understanding that the rigid policies of the Salazar regime rejected any negotiations with the Angolan, Guinean and Mozambican independence movements. As a result, from 1961 onwards there were several movements in the Portuguese colonies that initiated the respective "national liberation struggle", with a view to imposing their demands for political independence. During the 1960s, Salazar and Caetano presented armed conflicts in the colonies as a legitimate struggle to maintain national unity. In contrast to this position, members of the opposition to the regime began, after the 1974 revolution and the end of censorship, to speak openly and publicly of an “unjust” war. The designation «colonial war» then brought to the fore the repressive structure of colonialism with which the population of African territories was confronted. Consequently, voices critical of colonial policy rejected the ideal of the "pluricontinental" nation that had been propagated by the Estado Novo. The entire range of terms associated with the conflicting phase of decolonization in Portugal has a high political burden, which is why they continue to be a subject of discussion to this day.

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GPS 38.52400770789731, -8.899359502041857

The popular traditions of the Troino neighborhood are reflected in the spatial organization and architectural framework of this square, giving it a marked urban and social meaning.

Of the various buildings that surround this square, the highlights are the Palácio Feu Guião, an emblazoned house from the late 18th century, bearing the coat of arms of the Feu Guião family, and the Fonte Nova, from the 17th century. XVI, which was supplied by a spring from Outeiro da Saúde.

GPS 38.52318347021952, -8.886197526081105

To get to the Miradouro, from downtown, just go up Rua Arronches Junqueiro, starting at Largo da Misericórdia. This takes us through one of the most picturesque areas of the city, where you can find small traditional shops and handicrafts. At the top of the street, the Porta de S. Sebastião, the Michel Giacometti Work Museum and the Viewpoint.

From lined corners to tiles in blue and orange tones, it takes on even more color in spring, when its pergola is flooded with small lilac flowers.

A few meters away, you will find the church of S. Sebastião, decorated with a polychrome Pombaline carved altarpiece, with paintings dedicated to Nossa Senhora do Rosário, and also Casa Bocage, with a permanent exhibition dedicated to the life of this poet.

GPS 38.52325256564484, -8.884779791841462

The building forms part of a heritage complex that possibly dates back to the 16th century. Until the end of the century. In the 18th century, it was home to important religious institutions, such as the Convent of São Domingos, or the Colégio dos Jesuítas, of which the Chapel of São Francisco Xavier and the cloisters remain today, as well as a considerable section of the medieval wall.

The building itself was adapted into a bourgeois palace in the 16th century. XIX, after a sporadic occupation by the Freiras Bernardas de Lisboa, having been the residence of a wealthy English family (the Fryxells) and also housing the English Consulate, during the years that preceded its purchase by the Portuguese State.

Every year, on the 3rd of December, the Chapel of São Francisco Xavier opens its doors to the devotion of the image of the Patron Saint of Setúbal. There are also medium-term plans to open the cloisters and the Camino de Ronda (Medieval Wall) to the public.

Being one of the most beautiful and significant heritage sets in the city of Setúbal, the Fryxell Palace and attached structures are of inestimable value.

GPS 38.5180025233627, -8.909391504395519

Built by order of Filipe I (1527-1598), according to the layout of the architects Filipe Terzi and, after his death (1598?), Francisco Turriano. From the hill overlooking the sea where it was built, this superb military structure completely dominates the entrance to the Sado and, at the same time, subdues the city itself, once within reach of its cannons. It can already be seen that the fortress of São Filipe fulfilled a double defensive function: while it remained alert to the dangers posed by the waters, it carefully watched the movements of the village!

From the sea came the now traditional North African and French piracy attacks. This was then joined by attacks by the English and the Dutch, who at the end of the 16th century were at war with Spain. On the other hand, the Spanish occupier, if he had the support of the Portuguese elites for sure, had to fear the popular classes, which were adverse to him.

The massive, imposing, unfriendly and threatening ramparts, the austere entrances and the lairs contribute decisively to reinforce this vocation of the Philippine fortress.

Construction work on São Filipe began in 1582, with the presence of the king himself.

The plan of the fortress draws a six-pointed star, a sinuous path that is not alien to the rugged terrain where it lays deep foundations.

In the fortress there is also a small Joanine chapel, rectangular in plan. The interior walls and the vault are completely lined with rich tiles, part of which narrates the life of São Filipe. On the vault you can admire, in an intense baroque composition, the royal coat of arms. In the chancel, very discreet, with a gilded altar, small panels with a Marian theme stand out, dating from 1736 and signed by the master Policarpo de Oliveira Bernardes.

GPS 38.51108444178015, -8.913378457960716

By order of King D. João IV (1640-1656), the construction of the Fort of Albarquel began to be designed in 1642, starting the work in the following year (1643) which ended already in the reign of Pedro II of Portugal. Portugal (1683-1706).

This fort was intended to reinforce the fire capacity of the Fortress of S. Filipe and was part of the kingdom's military defense strategy in protecting the Setúbal bar.

The Fort of Albarquel was dismantled in 1883. In the first half of the 20th century, an underground fortification was built on the adjacent land, equipped with barracks, a water tank, storerooms and a power station, with a camouflage device and three Krupp cannons, of 150mm. Until 1999, the unit incorporated the 8th Battery of the extinct Coastal Artillery Regiment, of the Portuguese Army.

On June 21, 2001, the process of decommissioning the public military domain of the Fort of Albarquel, as well as a portion of land included in the public water domain, began, allowing the subsequent transfer of use of the property to the Municipality of Setúbal, which He took office in 2015.

This was followed by the respective recovery and requalification as a museum nucleus, also adapting it to carry out cultural activities, tourist support and environmental awareness.

ARCHITECTURE

Forte de Albarquel corresponds to the paradigm of Portuguese military architecture from the 17th century. It is a fortified building with a trapezoidal plan, with a two-story building. This building also had a small bastion at the southeast apex and a guardhouse at the south.

The fort presents itself with a “floor style”, which is characterized by its decorative remains, a sober and imposing type of construction, with a military aspect. Of the few adornments in the building, the friezes, the entablatures, the gargoyles and the detail of the exterior staircase stand out.

No interior, as coberturas são em abóbada e em plano direito.

GPS 38.523610688138014, -8.890228409021736

Fish salting tanks from the Roman occupation period, discovered in 1979.

Similar to what happened in other parts of the area currently occupied by downtown Setubalense (and also in Tróia), they were intended for the manipulation of various fish preparations, including garum (salted fish paste), which at the time constituted valuable export product.

Setúbal, the Roman Cetóbriga, was an important trading post, largely based on fishing, fish conservation and the commercialization of canned goods. This Roman factory space was abandoned throughout the 4th century, being used as a dump until the date of its musealization.

GPS 38.698062742346764, -9.190316046032628

The Fábrica Nacional de Cordoaria or Cordoaria Nacional was a manufacturing establishment of the Portuguese Navy located in Lisbon, Portugal. Its old building, dating from 1779, is now a national monument. Cordoaria was initially founded in 1771, as Real Fábrica da Cordoaria da Junqueira, completely ending its manufacturing activity only in 1998.

The Cordoaria building is located in the parish of Belém, between Avenida da Índia, Travessa das Galeotas, Rua de Mécia Mouzinho de Albuquerque and Rua da Junqueira.

Cordoaria manufactured cables, sisal ropes, sails and flags that equipped Portuguese ships.

Its installations extend over almost 400 meters, for a width of only about 50 meters, paralleling the Tagus River. These characteristic dimensions were due to the needs of the production process. Its situation, on the river, sought to facilitate the supply of products to boat owners.

Nowadays, the building, open to the public, hosts several exhibitions throughout the year, such as the Bienal Antiques exhibition, which includes tapestries, furniture, paintings, porcelain, etc.

The building has been classified as a National Monument since 1996.

Gallery of Torreão Nascente

The Gallery of Torreão Nascente da Cordoaria Nacional integrates the set of Municipal Galleries, five spaces in different areas of the city of Lisbon, dedicated to the promotion and dissemination of Visual Arts, in a multidisciplinary approach, where they are presented, depending on the mission of the space , anthological exhibitions, exhibitions by young artists and site-specific, individual and collective projects. Conceived with different approaches, formats and for different audiences, the Municipal Galleries are distributed among the nuclei Galeria do Torreão Nascente da Cordoaria, Galeria Quadrum, Galeria Boavista, Galeria Av. of India and White Pavilion.

West Tower Gallery

Located in a part of the Cordoaria Nacional complex, it is managed by the Portuguese Navy. Space for exhibitions, retrospectives of Portuguese artists, for international and national partnerships with exhibitions for the general public.

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GPS 38.698261576713115, -9.20122898465579

The National Palace of Belém houses, since October 2004, the Museum of the Presidency of the Republic, housed in the old stables of the palace. This museum intends to be a testimony of the life and work of the various presidents of the Portuguese Republic and is the result of an exhaustive research and collection, ordered by Dr. Jorge Sampaio. It thus intends to illustrate the path of more than 90 years of republican regime in Portugal, in an effort to approach and clarify the public.

The museum space is organized according to a thematic and chronological logic, with frequent use of new information technologies to create a place where interactivity is a special means of dialogue between the collection and the user. The permanent exhibition, for example, revolves around seven main sections: Republic and National Symbols (related to the implementation of this regime in Portugal), Republic and its Presidents, Presents of State, The Presidents of the Republic (which includes, in addition to oil paintings of each of the 17 Heads of State, personal objects and various documental, political and biographical collections of each of them), Belém Palace (virtual visit to the interior and gardens of the palace), Honorary Orders and Powers of the President, a room with computer points, where the visitor can access information related to the presidency of the republic, in various language registers and levels of information (from basic to specialized).

The museum also excels in offering an extensive and important cultural program, which presents a mix of cultural initiatives and recreational activities, aimed at audiences with different characteristics, ranging from conference cycles to courses and even a virtual class, the which can be accessed through the museum's website. The Museum of the Presidency of the Republic has a space for temporary exhibitions, a shop, an auditorium, a cafeteria and a terrace.

History

Inaugurated on October 5, 2004, it combines the traditional exhibition of collections linked to politicians who have headed the Portuguese State since 1910 with interactive information and knowledge systems. The route of the visit begins with the Portuguese National Symbols and ends with an approach to the powers, functions and activities of the Presidents and First Ladies of the country.

In addition to the exhibition space in the Palace of Belém, the Museum of the Presidency of the Republic has an exhibition entitled "Engine of the Republic: the cars of the Presidents", which has the vehicles used by the Presidents of the Portuguese Republic and many of the objects of personal and their professional work, at the Museum of Transport and Communications, at Alfândega Nova in Porto.

A film presents original images of the day of the Implantation of the Republic and the main events of each year from then on are shown by touching the screen of a computer, as well as the political biography of each of the Presidents, narrated in one-minute films and Midle.

The Museum was distinguished with the Cultural Heritage Prize of the European Union/Europa Nostra 2008, for its research work on the tangible and intangible heritage of the Palace of Belém, which allowed for the design and production of the exhibition and catalog "Do Palácio de Belém" .

The director of the Museum of the Presidency, Diogo Gaspar, was arrested on June 30, 2016 on suspicion of crimes of influence peddling, document forgery, embezzlement, embezzlement, economic participation in business and abuse of power. Diogo Gaspar, was released on bail of 50 thousand euros and suspended from the public functions he held. He was also prohibited from contacting officials and entering the Museum of the Presidency, General Secretariat of the Presidency and Palácio da Cidadela, in Cascais. 

He was replaced by Maria Antónia Pinto de Matos, former director of the Azulejo Museum. Through a virtual tour, you can get to know the Palace of Belém.

Archives

Among the personal and symbolic objects on display, the following stand out:

 The pistol that accompanied Sidónio Pais, the President-King, as Fernando Pessoa called it in a poem (present in the exhibition "Engine of the Republic: the cars of the Presidents" at the Museum of Transport and Communications); Spínola's monocle; a small diary used by Américo Tomás; and the gold watch that belonged to Mendes Cabeçadas. With regard to iconography, the Gallery of Official Portraits of the Presidents of the Portuguese Republic, painted by renowned artists, such as Columbano Bordalo Pinheiro, stands out.

GPS 38.696139293521895, -9.208225453978244

The Centro Cultural de Belém (CCB) is located in Praça do Império, parish of Belém, in the city and municipality of Lisbon, in the district of Lisbon, in Portugal.

It was originally designed to house the headquarters of the Portuguese Presidency of the European Union and later to develop cultural activities. It currently houses the Museum of Contemporary Art - Centro Cultural de Belém, among other cultural facilities.

The Centro Cultural de Belém has been classified as a Property of Public Interest since 2002.

Some of the shows organized by the Teatro Nacional de São Carlos are staged on the stage in the large auditorium of the Centro Cultural de Belém.

History

It was started in September 1988 and completed in September 1993. At the basis of its construction was the need for architectural equipment, which could host, in 1992, the Portuguese Presidency of the European Union, and which, at the same time, could remain, as a dynamic center for cultural and leisure activities. Its final design was decided at the beginning of 1988. After hosting the presidency of the European Union, it was transformed into a cultural and conference center in 1993.

Its controversial location was based on the fact that it marked the starting point of the maritime discoveries, like the Tower of Belém and the Monument to the Discoveries. The symbolism associated with this location is confirmed by the choice, in the 1940s, of the great Exhibition of the Portuguese World. The CCB came to occupy the same space that was destined to install the "Portugueses no Mundo" Pavilion and the "Portuguese Villages".

Through an international competition, and 57 projects accepted, the proposal by the Portuguese architect Manuel Salgado and the consortium of the Italian architect Vittorio Gregotti was selected. Of the five modules presented in the project, only three were built; the Meeting Center, the Show Center and the Exhibition Center.

The project

The Meeting Centre, consisting of the Large Auditorium (1700 m2) and Small Auditorium (600 m2) and 14 rooms (between 24m2 and 314 m2), was designed to host, in a privileged way, congresses and meetings of any nature or size, through quality equipment and finishes. The structure also included the CCB's general operating services, several stores, a restaurant, two bars and two garages open to users.

The Show Center is the nucleus for the production and presentation of artistic and cultural character of the CCB. Three rooms equipped to host different types of shows, from cinema to opera, from ballet to theater or any type of musical genre. The large auditorium accommodates 1429 seats, the small auditorium has a capacity of 310 seats and the Rehearsal Room holds 85 seats.

The Exhibition Center, made up of a qualified set of exhibition areas divided into four galleries which presents and produces exhibitions of visual arts, architecture, design and photography. Shops and a cafeteria complete the structure, as well as a space for the treatment and storage of art pieces.

The CCB currently occupies a construction area of ​​97 thousand square meters, across six hectares. The walls of the complex are approximately 36,000 square meters, covered in Abancado de Pero Pinheiro limestone with a Rustic Gastejado finish resting on metallic supports. It has several outdoor spaces that can be visited by the public, namely the Commenda, Oliveiras and Water Gardens, the Pedestrian Path and the CCB Square (1140 m2).

The module on the east side of the CCB building partially obstructs the unobstructed view that existed for centuries between the Jerónimos Monastery and the bank of the Tagus River.

Opening

It opened as a cultural and conference center in 1993, highlighting in its program music, theatrical arts and photography.

It also has a design museum with a collection of pieces dating from 1937 to the present day. In its short and turbulent existence, the design museum closed for good on August 31, 2006, but, through the Educational Service and by prior appointment, it is possible to organize visits and workshops for organized groups. During the weekend there are general and thematic guided tours, conference cycles, debates and activities for families.

Overlooking the gardens with geometric lawns and olive trees, from its restaurant and cafeteria, you can appreciate the pier and the Tagus river, so close by.

On weekends, Centro Cultural de Belém is filled with visitors, who, in addition to the usual cultural programs it offers, can enjoy the presence of street artists, actors, and other public manifestations of art, performances, etc. Between June 2007 and December 2022, it housed the Museu Coleção Berardo, which has since been replaced by the Museu de Arte Contemporânea - Centro Cultural de Belém.

Until January 31, 2010, the exhibition "Amália, Independent Heart" was present in this monument, together with the Electricity Museum.

Curiosities

• 1600 km of electrical cables.

• 15 thousand lamps.

• 280 electrical panels.

• 2600 fire, gas and intrusion sensors.

• 700 temperature, humidity and pressure sensors.

• 19 elevators and freight elevators.

• 1300 doors and gates.

• 550 fans, boxes and air conditioning units.

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GPS 38.523574072111835, -8.89280884839249

Muse of bocage

Image in the garden of the woman sitting in front of the Bocage statue in Setúbal representing one of her inspiring muses.

Bocage's feverish temperament leads him to get involved with several women, having, however, only fallen in love with the muse Gertruria, whose real identity remains a mystery, but about which the names of Ana Gertrudres Marecos are being considered, a young woman from Santarém, and Gertrudes Margarida da Cunha de Eça Castelo Branco, wife of brother Gil Francisco.

GPS 38.691652189603964, -9.215969383207815

Construída na margem norte do Tejo entre 1514 e 1520 no âmbito do sistema de defesa do estuário do Tejo, a Torre de Belém é uma das joias arquitetónicas do reinado de Manuel I.

No conjunto da torre distinguem-se dois volumes e modelos arquitectónicos militares distintos: a torre de menagem medieval e o baluarte moderno que, por conter dois níveis de artilharia, permitia disparos de canhões de longa distância e de ricochete sobre a água.

A Torre de Belém é uma referência cultural, símbolo da especificidade do Portugal da época, incluindo o seu intercâmbio privilegiado com outras culturas e civilizações. Como protetora da individualidade e universalidade portuguesa, a torre viu o seu papel confirmado em 1983, quando foi classificada pela UNESCO como 'Património Cultural da Humanidade.

Graças aos Descobrimentos dos séculos XV e XVI, Lisboa tornou-se o principal centro comercial do mundo. Para proteger a cidade, os reis D. João II e D. Manuel I conceberam um pioneiro sistema marítimo de defesa de Lisboa. No âmbito deste projeto, na parte mais estreita da baía do Tejo (1.670 metros), D. Manuel I mandou construir a Torre de Belém em 1514. Assim, poderia ser criado um fogo cruzado entre as duas margens para bloquear a entrada de inimigos navios.

D. Manuel I quis a Torre de Belém, situada à entrada da capital do reino, para afirmar claramente o seu poder. Portanto, o rei ordenou que sua heráldica fosse ostensivamente exibida na torre. Estes incluem as Armas Reais, seu emblema pessoal a "Esfera Armilar" e o símbolo da Ordem da Cruz de Cristo (que ele administrou).

Além de defender o acesso marítimo a Lisboa, a Torre de Belém protegia também o Mosteiro dos Jerónimos. Este monumento foi originalmente mandado construir por D. Manuel I que após o regresso de Vasco da Gama da Índia obteve o financiamento disponível para o transformar no seu mausoléu pessoal. Mais tarde, o Mosteiro dos Jerónimos tornou-se o mausoléu da sua linhagem real: a “Ordem de Aviz”.

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GPS 38.69604447740998, -9.193204715367989

The Museum of Art, Architecture and Technology (MAAT) is a contemporary art museum in Lisbon, Portugal that crosses three areas in a space for debate, discovery, critical thinking and international dialogue. It is located in the Belém area, next to the Tagus River, on land conquered by Lisbon from the Tagus River at the end of the 19th century, in one of the areas with the greatest historical monumentality in the city where we can find, among others, the Jerónimos Monastery , the Cultural Center of Belém, the Belém Tower, the Padrão dos Descobrimentos, the Palace and Museum of the Presidency of the Portuguese Republic, or the Cordoaria Nacional.

Building classified as Property of Public Interest, it consists of two poles: the former Tejo Power Station and the New Building. Central Tejo was inaugurated in 1990, as an Electricity Museum, with the reuse of an old electricity production plant and a new building (designed by British architect Amanda Levete) in October 2016. MAAT occupies an area of ​​38 thousand square meters and is an integral part of the EDP Foundation, which belongs to the EDP Group - Energias de Portugal, SA. The two buildings are joined by a garden designed by landscape architect Vladimir Djurovic.

POIs

MAAT - Museum of Art, Architecture and Technology translates the ambition to present national and international exhibitions with the contribution of contemporary artists, architects and thinkers, allowing reflection on major themes and current trends. Its program began on June 30, 2016, with the presentation of four exhibitions, in renovated rooms in the Central Tejo building. On October 5th of the same year, the new building was inaugurated with a large-scale work created by the French artist Dominique Gonzalez-Foerster specifically for this space.

Through the MAAT - Museum of Art, Architecture and Technology, the EDP Foundation offers a new cultural and landscape boost to the city of Lisbon. The diversity of programs and spaces make it an important point in the city's cultural itinerary, a proposal designed for all audiences, for all ages.

The interior of MAAT

The interior of the building includes four exhibition spaces in a total of around 3 thousand squares: the Oval Gallery, the Main Gallery, the Video Room and the Project Room. The Oval Gallery is the first exhibition area, with 800 square meters, along a curve, offering a tour through the interior of the building and through its special projects.

The Main Gallery measures approximately 1,000 square meters and is located on the lowest floor of the building. It is a versatile space that, depending on the programming, can be presented as a single unit or configured in several spaces. In turn, the Project Room and the Video Room are two rooms intended for the presentation of projects in film or video, installations, among other supports.

Central Tejo

Praça do Carvão, reception and start of the visit to the Central Tejo hub. Central Tejo is the former Museum of Electricity and presents in its spaces, the past, present and future of Energies, in a concept of Museum of Science and Industrial Archeology, where thematic and experimental exhibitions coexist side by side, with the most variety of cultural and business events. Its building develops on the perimeter of the former thermoelectric power station - Central Tejo, which illuminated the city of Lisbon for more than four decades.

The initial opening of this Museum took place in 1990, still as the Electricity Museum. After ten years, it underwent a new period of rehabilitation of its buildings and equipment, to reopen to the public in 2006.

Today, due to its cultural and multidisciplinary aspect, the visitor can enjoy various events; from the permanent exhibition of the Museum, where the original machinery of the former Tejo Power Station is shown and explained, its mode of operation and its working environment, to the temporary exhibitions of great diversity (photography, sculpture, painting, ... ) as well as didactic and more playful spaces dealing with the theme of energy, such as educational games, or outdoor solar energy exhibitions, theatre, concerts, conferences, etc.

The Interior of Central Tejo

The entire set that constitutes the Tejo Power Station represents an old Thermoelectric Power Station that supplied electricity to Lisbon and its region. It is a unique building in the architectural panorama of Lisbon, and one of the most beautiful examples of industrial architecture from the first half of the 20th century in Portugal.

The Tejo Power Station was built between 1908 and 1951 and therefore underwent several expansion phases over this period. Its structure follows the type of Western architecture of iron with brick cladding, which configures and decorates the facades in artistic styles that range from art nouveau, in its oldest bodies (low pressure building), to classicism in the most contemporary ones. (high pressure building). With the expansion of the plant, land and other buildings adjacent to the plant were acquired over the years, making it today a large industrial complex with various cultural purposes, always having the Tagus River as a backdrop, which gave it its name.

Due to its state of conservation, between 2001 and 2005 the Museum underwent restoration work to consolidate its structure, treat its facades and interior machinery and, with a new museological project, became what it is today visible.

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GPS 38.72765082347019, -9.227159557672124

The Mama Lighthouse , branded by Mama or Mama Sul, is a Portuguese lighthouse (which is also a geodesic landmark), which is built on an elevation of 145 meters in the Serra de Carnaxide, municipality of Oeiras, district of Lisbon, about 4 km NE (northeast) of Farol do Esteiro.

The lighthouse consists of a white monument with three feet, with the lantern installed on a platform 10 meters high.

The navigability and safety conditions offered by the Tagus estuary have always favored human presence in the area. The oldest traces of this presence date back to prehistory. Historians believe that the Phoenicians, in the century. XII BC, recognized the merits of Lisbon's location and established a commercial port on the North Bank of the Tagus River. The strategic importance of Lisbon did not escape the knowledge of other nations of sailors and explorers, which in 205 BC, would have motivated the conquest of the city by the Romans and its baptism as Olissipo, which received the epithet of “Felicitas Lulia”. With the fall of the Roman Empire, the Suevi and the Visigoths followed who had controlled the city since 472 AD. The Moors took Lisbon – Asch-Bonnah – in 714 AD. and developed the port through their Mediterranean and Atlantic trading activities. In the century XI the process of internal reorganization of Europe takes on a new direction and, with the development of the crusades, traffic and maritime trade suffered considerable increases. D. Afonso Henriques, realizing the strategic importance of the city of Lisbon in the international context, directed his expansion movements towards the south, with a view to establishing a zone of Portuguese influence along the coast, managing to guarantee the support of the crusades for the conquest from the city of Lisbon, fundamental for dominating the Tagus estuary, a large natural port that would greatly improve the importance of the territory in this European context. Thus, on June 28, 1147, a fleet of 164 ships entered the Tagus carrying an army of 13,000 crusaders. Having played a fundamental role in the conquest of the city of Lisbon from the Moors and, later, in the defense of the nationality, the port is closely linked to the city that was born and prospered with it. At the beginning of the century In the 13th century, navigation methods evolved a lot, with the use of the compass as a navigation aid and the introduction of the rudder, bringing more stability and maneuverability to the vessels. Larger ships with greater cargo capacity are built.

When they appear, in the first quarter of the century. XIII, the first regular lines from the Mediterranean to England and Northern Europe, through the Strait of Gibraltar, Lisbon is a mandatory stopover for all ships in transit along the Portuguese coast. Benefiting from an enviable geographic situation, the port of Lisbon will easily be inserted in the international maritime routes.

Seafarers and fishermen from Lisbon to Cascais became familiar with the Tagus and its mouth from an early age. The wisest and most experienced among them, the so-called "river practitioners", learned, in their daily work, through continuous observation, the natural laws that governed the cycle of the tides, the direction of the currents, the regime of the winds, the movement of the sands, the nature of the bottoms as you drive your boats through the navigation channels. Recognition of the importance they had as a social group and the value of practical information they possessed was recorded in the Charter of Privileges of the Pilots of Barra de Lisboa", attributed by King Dom Manuel, in 1515, a document that granted them various benefits such as the exemption of taxes and easements, in this way the King sought to guarantee the service of pilotage to the important ships that entered the bar, whose holds loaded with spices and goods from multiple stops sustained the prosperity of the kingdom. Until the middle of the 19th century, fishermen and sailors with pilots' registration continued to resort to the service. Only from then on would pilotage progressively give way to scientific pilotage. Until recent times, despite the scientific advances that the art of sailing recorded, the words written by the cosmographer Manoel Pimentel remained current, who, in 1712, warned that the terrestrial beacons that referenced the threads of the channels of the Tagus bar (among them the elevation where the lighthouse of "Mama" de Carnaxide is located today), served "only for those who have a lot of knowledge of the sites, which cannot be declared in writing" Mapping Barra do Tejo was therefore an urgent and vital need. The great increase in commercial traffic in the city of Lisbon, in the 16th century, on the one hand, and the increase in the draft of ships on the other, forced it to do so. Recording the topography of the port, soundings at the bottom, rocks and sand formations, navigation channels and threads was certainly a concern that came to be shared by the crown, the cosmographers at its service and also those of foreign maritime nations.

The oldest representations of Barra do Tejo are of foreign origin and belong to Dutch atlases, dating from 1572/80 and 1583(1). of the crown. Very little separates the 15th and 17th century records from those of the late 17th century, even though the configuration of the coastline has progressively acquired clearer and more approximate contours and more nautical information (greater number of soundings and navigation channels signaling), it is It was in the 18th century (1607) that the first record of the reference point now known as Monte da "Mama" in Carnaxide appears, in Leonardo Turriano's "Planta de la Barra de Lisboa", scale 100 fathoms. In "Leonardo Turriano's speech about cleaning the Barra del Texo and other bars of other rivers", by that time it would have ceased to be just a reference elevation and a sinus-shaped building would have already been built (which I think was the origin of the nomenclature now attributed to the place), so that it could be better viewed from the entrance to the bar. Despite the fact that the reference point for Farol da Mama was registered in 1607 with a building already built, it was evidently used as a navigation landmark in much earlier times, probably since the time of the Roman occupation.

After verifying that there would have been a building before the lighthouse currently existing on the elevation, we went to the site and were able to identify, close to the current structure, the traces of the original brand as shown in the photographs below

The Carnaxide lighthouse is therefore part of the beaconing system of one of the main navigation channels of the Tagus Estuary, the Barra Sul Channel. As can be read in the Regulation of the Lisbon Port Authority, on page 65 of the 2008 version: "the axis of this channel is defined by the alignment of the Gibalta and Esteiro lighthouses with the Mama Sul brand"

It is common to oscillate between the designations of landmark (or vertex) geodesic and lighthouse. It is strange that the competent authorities are silent about its reference. The Directorate of Lighthouses does not list it as such (perhaps because, officially, it is just a beacon mark, as stated in the APL Regulation), unlike the Revista da Armada, which refers to pages 145 of its compilation of magazines of the year 2006 as Farol da Mama (but also as Marca da Mama). The Army Geographical Institute refers to it as a 2nd or 3rd order geodetic vertex, but the Portuguese Geographical Institute omits it from the search results in the National Geodesic Network (it appears, however, in the listing of the ETRS89 system).

On the page of the Parish Council of Carnaxide it is mentioned that "the so-called «Rocket of Carnaxide» [is] a construction erected at an elevation of 145 meters above sea level next to an existing geodesic landmark in the locality". Therefore, it will not be an apex with the function of a lighthouse, but an apex and a lighthouse very close together.

The recent works had, above all, the function of raising the lighthouse, whose visibility would be compromised by the construction of tall buildings in the vicinity. In fact, the elevation and the new painting give it an appearance more in line with a lighthouse, but the surrounding works are, apparently, at a standstill: after earthworks and the construction of some infrastructure (roads, public lighting and parking spaces) , the site was abandoned

It was lit in 1995 with a “Tideland” RL-355 directional light. It has a height of 15 meters at an altitude of 82 meters, to achieve a luminous range of 21 nautical miles.

It was refurbished in 2013(2) by the firm Lindley under the supervision of the Direcção Geral de Farois, increasing its luminous intensity to 400,000 candelas per unit, allowing ranges of over 10 MN during the day and 24 MN at night. Gibalta, Esteiro and Mama lighthouses and web monitoring of the lighthouse's operating status.

GPS 38.69166933731782, -9.294885215953114

Come and see the light fixtures that have guided sailors for over a hundred years.

With the modernization of Maritime Signaling in Portugal, during the 1980s, many pieces of equipment, some centuries old, were replaced. With the aim of preserving this important collection taken from the lighthouses, a Museum Nucleus was built, in the Direction of Lighthouses, which opened its doors to the public on July 12, 2017.

​In this museum center you can see old tile panels that decorated the old headquarters of the Directorate of Lighthouses, various optics and oil lamps that were used before the use of electricity, models of some lighthouses, showcases with lighthouse parts and tools , tables with historical documents of the lighthouses and explanation of their functioning and characteristics.

The visitor will be able to appreciate pieces that for decades illuminated our coast, allowing the safe navigation of the entire maritime community. The exposed headlights will be lit and there will be explanatory tables about their history and mode of operation.

A visit not to be missed!

GPS 38.688300651148836, -9.308461223297071

Fort Apache stands the test of time and maintains the classic atmosphere of the old establishments.

Juke box e musica a condizer, um menu que vai das classicas tosta, doces e salgado passando tambem por mini-refeições para acompanhar com a classica imperial ou outra bebida clássica ou moderna.

An interior space where you can still smell the smell of a “wooden bar” and a terrace set in a pleasant, open square with the sea in the background.

Having conquered a loyal and ever-present clientele, it welcomes the sporadic customer as part of the “family”.