Manueline - Wikipedia Jump to content Main menu Main menu move to sidebar hide Navigation Main page Contents Current events Random article About Wikipedia Contact us Contribute Help Learn to edit Community portal Recent changes Upload file Special pages Search Search Appearance Donate Create account Log in Personal tools Donate Create account Log in Contents move to sidebar hide (Top) 1 Characteristics 2 Examples 3 Famous Manueline artists Toggle Famous Manueline artists subsection 3.1 Architects 3.2 Painters 4 Gallery 5 See also 6 References Toggle the table of contents Manueline 36 languages Azərbaycanca Беларуская Български Català Čeština Dansk Deutsch Esperanto Español Eesti Euskara فارسی Suomi Français Galego עברית Hrvatski Magyar Հայերեն Bahasa Indonesia Italiano 日本語 ქართული Nederlands Occitan Polski Português Русский Srpskohrvatski / српскохрватски Slovenščina Српски / srpski Svenska Türkçe Українська Walon 中文 Edit links Article Talk English Read Edit View history Tools Tools move to sidebar hide Actions Read Edit View history General What links here Related changes Upload file Permanent link Page information Cite this page Get shortened URL Switch to legacy parser Print/export Download as PDF Printable version In other projects Wikimedia Commons Wikidata item Appearance move to sidebar hide From Wikipedia, the free encyclopedia 16th-century Portuguese architectural style This article includes a list of references, related reading, or external links, but its sources remain unclear because it lacks inline citations. Please help improve this article by introducing more precise citations. (September 2018) (Learn how and when to remove this message) Manueline Top to bottom: Belém Tower in Lisbon (1514–1519); Chapel of São Miguel at the University of Coimbra in Coimbra (1517-1522); and the altar of the church of the Monastery of Jesus of Setúbal in Setúbal (1491-1495) Years active c. 1490s-1520s Location Europe, the Americas, Africa and Asia The Manueline (Portuguese: estilo manuelino, IPA: [ɨʃˈtilu mɐnweˈlinu]), occasionally known as Portuguese late Gothic, is the sumptuous, composite Portuguese architectural style originating in the 16th century, during the Portuguese Renaissance and Age of Discoveries. Manueline architecture incorporates maritime elements and representations of the discoveries brought from the voyages of Vasco da Gama and Pedro Álvares Cabral. This innovative style synthesizes aspects of Late Gothic Flamboyant architecture with original motifs and influences of the Plateresque, Mudéjar, Italian, and Flemish architecture. It marks the transition from Late Gothic to Renaissance. The construction of churches and monasteries in Manueline was largely financed by proceeds of the lucrative spice trade with Africa and India. The style was given its name, many years later, by Francisco Adolfo de Varnhagen, Viscount of Porto Seguro, in his 1842 book Noticia historica e descriptiva do Mosteiro de Belem, com um glossario de varios termos respectivos principalmente a architectura gothica, in his description of the Jerónimos Monastery. Varnhagen named the style after King Manuel I, whose reign (1495–1521) coincided with its development. The style was much influenced by the astonishing successes of the voyages of discovery of Portuguese navigators, from the coastal areas of Africa to the discovery of Brazil and the ocean routes to the Far East. Although the period of this style did not last long (from 1490 to 1520), it played an important part in the development of Portuguese art. The influence of the style outlived the king. Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals, faience and furniture. Characteristics [edit] The window of the Convent of Christ in Tomar is a well-known example of Manueline style which exhibits its typical characteristics. This decorative style is characterized by virtuoso complex ornamentation in portals, windows, columns and arcades. In its end period, it tended to become excessively exuberant as in Tomar. Several elements appear regularly in these intricately carved stoneworks: elements used on ships: the armillary sphere (a navigational instrument and the personal emblem of Manuel I and also a symbol of the cosmos), spheres, anchors, anchor chains, ropes and cables. elements from the sea, such as shells, pearls and strings of seaweed. botanical motifs such as laurel branches, oak leaves, acorns, poppy capsules, corncobs, and thistles. symbols of Christianity such as the cross of the Order of Christ (former Knights Templar), the military order that played a prominent role and helped finance the first voyages of discovery. The cross of this order decorated the sails of the Portuguese ships. elements from newly discovered lands (such as the tracery in the Royal Cloister of the Batalha Monastery, suggesting Islamic filigree work, influenced by buildings in India) columns carved like twisted strands of rope semicircular arches (instead of Gothic pointed arches) of doors and windows, sometimes consisting of three or more convex curves multiple pillars eight-sided capitals lack of symmetry conical pinnacles bevelled crenellations ornate portals with niches or canopies. Examples [edit] Manueline exterior of the Hieronymites Monastery in Lisbon, the dome, a later 19th century addition, is an example of Neo-Manueline style. When King Manuel I died in 1521, he funded 62 construction projects. However, much original Manueline architecture in Portugal was lost or damaged beyond restoration in the 1755 Lisbon earthquake and subsequent tsunami. In Lisbon, the Ribeira Palace, the residence of King Manuel I, and the Hospital Real de Todos os Santos were destroyed, along with several churches. The city, however, still has outstanding examples of the style in the Jerónimos Monastery (mainly designed by Diogo Boitac and João de Castilho) and in the small fortress of the Belém Tower (designed by Francisco de Arruda). Both are located close to each other in the Belém neighbourhood. The portal of the Church of Nossa Senhora da Conceição Velha, in downtown Lisbon, has also survived destruction. Outside Lisbon, the church and chapter house of the Convent of Christ at Tomar (designed by Diogo de Arruda) is a major Manueline monument. In particular, the large window of the chapter house, with its fantastic sculptured organic and twisted rope forms, is one of the most extraordinary achievements of the Manueline style. Other major Manueline monuments include the arcade screens of the Royal Cloister (designed by Diogo Boitac) and the Unfinished Chapels (designed by Mateus Fernandes) at the Monastery of Batalha and the Royal Palace of Sintra. Other remarkable Manueline buildings include the church of the Monastery of Jesus of Setúbal (one of the earliest Manueline churches, also designed by Diogo Boitac), the Santa Cruz Monastery in Coimbra, the main churches in Golegã, Vila do Conde, Moura, Caminha, Olivença and portions of the cathedrals of Braga (main chapel), Viseu (rib vaulting of the nave) and Guarda (main portal, pillars, vaulting). Civil buildings in Manueline style exist in Évora (home to the Évora Royal Palace of 1525, by Pedro de Trillo, Diogo de Arruda and Francisco de Arruda) and the Castle of Évoramonte of 1531), Viana do Castelo, Guimarães and some other towns. The style was extended to the decorative arts and spread throughout the Portuguese Empire, to the islands of the Azores, Madeira, enclaves in North Africa, Brazil, Goa in Portuguese India and even Macau, China. Its influence is apparent in southern Spain, the Canary Islands, North Africa and the former Spanish colonies of Peru and Mexico. Famous Manueline artists [edit] Architects [edit] Diogo Boitac Mateus Fernandes Diogo de Arruda Francisco de Arruda João de Castilho Painters [edit] Vasco Fernandes Jorge Afonso Cristóvão de Figueiredo Garcia Fernandes Gregório Lopes Gallery [edit] Windowframe at the royal palace of Sintra Doorframe in a church in Elvas Doorframe of a church in Golegã Royal palace at Évora Royal palace at Évora, gallery Manueline furnishings of a 16th century Portuguese countryside house Manueline doorframe in Olivença, Spain Manueline windowframe in Pinhel Windowframe in Évora "Bicephalous Fountain", displaying both the heads of King Manuel and the Queen, and an armillary sphere, the royal emblem Decorative motifs in the Monastery of Tomar Manueline church in Goa, India Cloyster at the Batalha monastery Detail of decorative motifs in the Batalha Monastery Monastery of Batalha Chapel in Belém, Lisbon Detail of the chapel in Belém Castle of Alvito, with Manueline elements Sempre Noiva manor Manor of the Henriques de Trastámaras, in Alvor See also [edit] Architecture portal Portugal portal Neo-Manueline Portuguese Architecture References [edit] Manueline architecture"}},"i":0}}]}'> Wikimedia Commons has media related to Manueline architecture. Atanázio, A Arte do Manuelino, Lisbon, Presença, 1984. Turner, J., Grove Dictionary of Art, Macmillan Publishers Ltd., 1996; ISBN 0-19-517068-7 The Rough Guide to Portugal, March 2005, 11th edition, ISBN 1-84353-438-X Smith, Robert C., The Art of Portugal 1500-1800; Weidenfeld & Nicolson, London, 1968 ISBN 0-297-76096-3 v t e Portuguese architecture Styles Romanesque Gothic Manueline Renaissance Plain Baroque Rococo Pombaline Neo-Manueline Neo-Mudéjar Summer architecture Soft Portuguese style Structures Airports Bridges Castles Cathedrals Football stadiums Hospitals Indoor arenas Reservoirs and dams Tallest buildings and structures Elements Azulejo Gilding Lioz Pavement Colonial Portuguese Colonial architecture Sino-Portuguese architecture Sobrado Seven Wonders of Portuguese Origin in the World Others Architects Monuments Housing IGESPAR Seven Wonders of Portugal Category Portuguese Renaissance v t e History of architecture Architectural timeline History of construction BCE Neolithic Vernacular Mesopotamian Nabataean Ancient Egyptian Aegean Minoan Mycenaean Etruscan Classical Ancient Greek Ancient Roman Herodian Achaemenid 1st millennium Sasanian Byzantine Islamic Umayyad Moorish Abbasid Fatimid Medieval Scandinavian Pre-Romanesque Carolingian 1000–1500 Romanesque Galician Ottonian Norman East Slavic Kievan Rus' Muscovite Indian Hoysala Vijayanagara Western Chalukya Islamic Great Seljuk Anatolian Seljuk architecture Mamluk Timurid Ottoman Indo-Islamic Romano-Gothic Gothic Sondergotik Venetian Mudéjar Incan Aztec Renaissance Plateresque 1500–1750 Manueline Palladian Dutch Colonial Spanish Colonial Portuguese Colonial Mughal Sikh French Provincial 1750–1900 Baroque Andean Czech Dutch Earthquake English French Italian Maltese Petrine Elizabethan Naryshkin Portuguese Siberian Ukrainian Industrial British Revivalism Byzantine Russo-Byzantine Serbo-Byzantine Colonial Dutch Colonial Egyptian Gothic Greek Mayan Mediterranean Mission Monumentalism Baroque Rococo Neoclassical Moorish Revival Mughal Neo-Manueline Neo-Mudéjar Pueblo Queen Anne Britain America and Australia Renaissance Romanesque Rundbogenstil Romanian Russian Spanish Colonial Territorial Tudor Venetian Gothic Revival Art Nouveau Jugendstil Liberty style Modern Style Modernisme Ukrainian Swiss chalet Beaux-Arts Victorian Carpenter Gothic Collegiate Gothic Bristol Byzantine Richardsonian Romanesque Second Empire 1900–1950 Rationalism Mycenaean Modern Edwardian Prairie School Expressionism Cubism De Stijl Bauhaus Constructivism New Objectivity Totalitarianism Imperial Crown Rationalist-Fascist Nazi Stalinist International style Functionalism Futurism Organicism Art Deco (architecture) Streamline Moderne Zigzag Moderne Stripped Classicism Postconstructivism PWA …