valuable books lie in heaps without | Castello, in the great earthquake. If any attempt at order. The greatest civility, however, is shown by the officials. At the end of the gallery, in the MSS. department, is a marble statue of Dona Maria I., the foundress of the collection, by Machado de Castro. Considering the inestimable treasures which are known to have existed in the libraries of the suppressed convents, the visitor will be sadly disappointed in these spoils, not only here, but at Porto, Braga, and elsewhere. Open daily from 9 till 3, Sundays and Festas excepted. Strangers are freely admitted. we believe the statements of some guide-books, this collection contains documents of unrivalled interest. For example; the treaty of peace between the Lusitanians and the Carthaginians; the treaty between Viriatus and the Romans; the treaty for the partition of Spain between the Alans, the Vandals, and the Suevi; with many others, doubtless equally authentic. An order is required for this library. the celebrated Alexandre Herculano. The Bibliotheca da Marinha, attached to the Escola Naval, and the Archivo Militar, at the Páteo das Vaccas, are collections of no great importance. 15. BOOKSELLERS' SHOPS. Viuva Bibliotheca da Ajuda, joining the Palace of that name. This contains a valuable collection of books, which may be inspected by procuring an Bibliotheca da Academia. In the sup-order from the Director, at present pressed convent of the Jesuits, Rua do Arco do Marquez. Composed of two distinct libraries: that of the Jesuits, still kept in its original locality, and that of the Academy of Sciences, which is arranged in some of the adjoining rooms and galleries. The library of the Jesuits is a fine, lofty, well-lighted room, with painted ceiling and light gallery, and is also used as the reading-room. There is an alphabetical and classified catalogue. The number of volumes is upwards of 80,000. The catalogue of that of the Academy of Sciences is kept on slips of paper. It affords a striking example of the little interest taken by the Portuguese in England and its literature. Under the head "History," which includes Biography, and the division "English," are enumerated only 80 works, not one of which is in English, nor is there a single translation from a standard English book. [July, 1853.] The greater part are in French, or are Portuguese translations from the French, and many are mere pamphlets. Open to the public on Mondays, Thursdays, and Saturdays, from 9 a.m. to 3 p.m.; on Wednesdays and Fridays, in winter, from 2 p.m., and in summer from 3 p.m. to Ave Marias. Archivo do Torre do Tombo. In the suppressed convent of S. Benedict. Entrance from the Calçada da Estrella. Here are deposited the archives of the kingdom, which were brought hither after the destruction of the Torre do These are numerous, but there are only two which are first rate. Bertrand e Filhos, Aos Martyres, No. 45, near the church of that name, is decidedly the best, and may be called an old established house, since it is mentioned by Link in 1797. Next to this is Borel, 14, Rua das Portas de Santa Catherina. Besides these may be mentioned J. J. A. Silva, Rue dos Calafates, No. 80; Bordalo, Rua Augusta, No. 193; Lavada, No. 8, ditto. French works may be obtained of Silvas in the Rocio, and at many other shops which deal exclusively in them. At Bordalo's books are let out at the moderate subscription of 300 rs. per month, or 2400 rs. per annum. only place where any number of English works are to be found is at the Centro Commercial on the Chiado, a kind of bazaar, where they sell everything, from a bottle of English pickles to a French clock. The The books printed at the Imprensa Nacional may be purchased in the Largo do Pelourinho, at the only shop on the south side. A catalogue of these with the prices much reduced was published in 1853. 16. ACADEMIA DAS BELLAS ARTES. On the ground floor of the suppressed convent of São Francisco. It consists of a Director and full staff of Professors, but the number of students is very limited. The writer was assured in July, 1853, that there were only ten students in painting and two in sculpture. Most of the artists, from the small encouragement which they receive, are compelled to devote themselves to portrait painting: for "falta-lhes pincel, faltão-lhes cores, which is as true now as it was in the time of Camoens. Low as the art of painting has fallen in Portugal, its professors, considered as men, seem to have fallen still lower. In the address delivered in 1843, by the Director of the Academy, Loureiro, in presence of their majesties, after the most fulsome eulogies on their virtues, he extols the present King-regent, Dom Fernando, not for the taste in art which he really possesses, but for being the only monarch in Europe, since the time of Frederick the Great, who returns the salutations of his subjects when he meets them in the streets! The Academy is supported by an annual grant of about 2001. There is an exhibition every three years of the works of the professors and students, open to the public free of charge. The first took place in 1837. In that of 1852, the number of works exhibited did not exceed 20. The Professors complain much that they are expected to contribute to this exhibition, since they are obliged to expend not only time, but money for models and materials, while they have hardly any chance of selling their pictures. The collection of paintings, principally by deceased members, is not very extensive, and few have any great merit. There is no catalogue. Several, and by no means the best, are attributed to Michael Angelo, Raffaelle, Giulio Romano, Vandyke, &c., but no foreigner will regard them as genuine, though with respect to some, for example, the Raffaelle, much documentary evidence has been adduced to prove their authenticity. The visitor will notice a S. Bruno by Sequeira, a good specimen of that master; a Nossa Senhora do Rosario and a S. Augustine by Vieira Lusitano; also a few works by Affonso Sanches Coelho, Bento Coelho, and Pedro Alexandrino. Some paintings of flowers and fruit by one of the professors are tolerable. By far the most interesting pictures in the collection are those attributed to Gran Vasco, the Giotto of Portugal, not merely because of the mystery that hangs over the life and age of the painter, if such a person ever did exist at all, but on account of their great merit as works of art. With respect to Vasco himself, see more under Viseu, the reputed place of his birth. The Count Raczynsky, in his work published in Paris in 1846, called Les Arts en Portugal, has collected a large, but confused, mass of materials relating to Gran Vasco. Throughout Portugal all the older paintings, though often differing extremely from each other both in style and age, are attributed to this artist. Those at the Academy ascribed to him are supposed by the Count to be the production of at least three different pencils. To one of these unknown painters he attributes the four large pictures brought from the convent of São Bento; which represent the Visitation, the Adoration of the Magi, the Presentation, and Christ with the Doctors. The arms represented in one of these are those of D. João III.; the painting must therefore be of later date than 1521. To another he ascribes, but perhaps without sufficient grounds, the eight pictures representing scenes from the life of the Blessed Virgin, which were brought from the church of the Paraiso: these, like the former, are proved by the coins represented in the Adoration of the Magi, to be subsequent to 1521. Both of these series deserve careful examination; they are well drawn, well coloured, and many of the heads possess great expression. The other paintings attributed to Gran Vasco, though not equal to the above, are amongst the best in the collection. Open from 9 to 2 in winter; to 3 in summer. Admission readily granted by application to the Director of the Academy. 17. MUSEU REAL. This is now deposited in the suppressed convent of the Jesuits. It contains a collection of preserved specimens of animals, an extensive series of minerals, and a number of paintings. The most valuable articles were taken away during the French invasion. Still it deserves a visit. Entering from the Rua do Arco do Marquez we find the mammalia and the radiata, arranged according to the system of Cuvier, deposited in glass cases round the sides and in the centre of a large vaulted apartment on the ground-floor. The number of specimens is not very great, and they do not make up for their paucity by any peculiar excellence in their preparation, Look, for example, at the strange animal which might be anything, but is ticketed as the horse of D. Pedro II. On the first floor, in a room to the right, are the fishes, reptiles, and insects. In the centre is a Squalus Maximus, 25 feet long. On the left of the staircase is the gallery in which the books belonging to the Academy of Sciences are deposited. Beyond this is a tolerably numerous and well preserved collection of birds. By a separate entrance from the gallery we reach a miscellaneous assemblage of china, bronzes, carved and polished shells, gems, Chinese and Indian ornaments, &c. Here is a fowling piece, about 8 feet long, which belonged to Manoel Mascarenhas de Figueiredo, Capitão Mòr of Faro, noted for his great personal strength. Of this there is an additional proof in a hollow iron ball, weighing about 150 pounds, and when loaded about 50 pounds more, with which he was in the daily habit of exercising himself. At the end of the gallery are several cases filled with weapons, carvings, utensils and dresses from Asia and Africa. There is also a large collection of ancient Portuguese measures, some of them of wood. Another department, said to be the most complete of all, contains an extensive series of mineralogical and geological specimens. These, in July, 1853, in consequence of being in course of arrangement, were not open to the public. The collections of the Museu are, considering the resources which Portugal still possesses from her Asiatic and African colonies, very imperfect. Paintings. On the upper floor are two rooms filled with paintings by Portuguese artists. In the ante-room are a number of smaller pictures, many of them portraits; but as there is no catalogue much of the interest is lost. One of these, disagreeably conspicuous, represents a man spotted black and white, who died some years since in Belem. The principal works are deposited in the second room, a spacious gallery lighted from above. Portraits of saints form the bulk of the collection. Among them S. Jerome and S. Antony are the most numerous. Notice a good half-length of S. Francis with a skull, and another with a crucifix; a Madonna on a gold ground; and a S. Theresa. One of the best pictures is a whole-length portrait of Villa Lobos, Bishop of Beja. There are several works of an artist much esteemed by the Portuguese, Morgado of Setubal, who is looked upon as a first-rate painter of still-life. The admiration bestowed on very indifferent representations of cabbages, onions, and salt fish, affords a sad proof of the want of true artistic feeling in Portugal. The Museu is open to the public on Thursdays. 18. THE CHURCHES OF LISBON. The best time for visiting these is early in the morning. In general they are opened at 6, and closed at 9, for the rest of the day. It is with the greatest difficulty that the visitors will obtain access afterwards, as the sacristans seem to have no idea that a stranger may be desirous of visiting a church as matter of curiosity. The Cathedral, Sé, or Basilica de Santa Maria, a moderate-sized, plain building, with two low western towers, situated on an elevation in the eastern part of the city, below the castle of S. George, is one of the most ancient edifices existing in Lisbon. It has been asserted that it was originally a mosque, and was converted into a church by Affonso Henriques when he recaptured the city in 1147. But it was clearly rebuilt by that monarch, who appointed an English ecclesiastic, Gilbert, one of the crusaders engaged in the siege, first bishop of its see. The building has undergone many alterations since its original erection. In 1344 it was much injured by an earthquake, but was restored by D. Affonso IV., by whom the choir (Capella Mór) was rebuilt. His body, with that of his queen, is interred in it. D. Fernando I. rebuilt the west front. The building was much injured by the great earthquake, and by the fire which succeeded it, but was immediately restored by the orders of Pombal. From one of the western towers, which he had ascended during the riots which immediately succeeded the murder of the Count of Ourem in the adjoining palace, the bishop, D. Martinho, a favourer of the Castilian party, was, Dec. 6, 1383, precipitated by the mob to the ground, and his body dragged about the streets. "E como Astianax, precipitado, Sem lhe valerem ordens, d'Alta Torre, A quem ordens, nem aras, nem respeito, Quem nu por ruas, e em pedaços feito," &c. The interior of the church is gloomy without being grand. The white washed walls and columns contrast disagreeably with the gilding of the capitals. In the chapel of São Vicente, the relics of that saint are preserved : translated here by Affonso Henriques from the cape called after that martyr; "do Martyre Vicente O sanctissimo corpo venerado Do sacro Promontorio conhecido A' Cidade Ulyssea foi trazido." They had remained there, says the legend, under the protection of some ravens, by which the ship that conveyed them to Lisbon was accompanied. Hence, two ravens are always maintained in the cloisters of the cathedral (no long time ago, the officials used to inform visitors that these were the very ravens who came from the Cape), and are introduced in the city arms at the stem and at the stern of a ship. None of the chapels contain any tombs of interest, but there is a stone chair at the east end in which it is said that the earlier kings administered justice. The present date, 1629, is probably that of its removal here. In a small chapel in the cloisters is a celebrated miraculous image, of the size of life, known by the name of the Senhor Jesus da Boa Sentença da Sé. Engraved representations may, as is generally the case with respect to such images, be purchased on the spot. São Vicente de Fora, so called from its having been built outside the walls of the Saracen city, and occupying the spot where the Portuguese under Affonso Henriques were encamped during the siege. It was founded by that monarch, but pulled down by Philip I. (II. of Spain) in 1582. Its reerection occupied 47 years, although the stone and marble collected by Don Sebastião for a church to his patron saint were used in its construction. It suffered considerably in the great earthquake. This is, in its way, the most magnificent church in Lisbon, and forms a very conspicuous object from the river, entirely eclipsing the cathedral. The west front is 100 feet in breadth, 97 to the balustrade, and 147 to the summit of the tower. The interior, 222 by 82. The vaulted roof is of black and white marble, and the baldachin of the high altar is by the himself to the work of a missionary celebrated sculptor, Machado. In a preacher with unbounded effect and low dark chapel are deposited the re- reputation, till he died, worn out by mains of the sovereigns of the House his labours, at Padua, in 1231. He is of Bragança, beginning with Dom generally represented as young and João IV. The unfortunate Affonso beardless, holding a lily or a book, or VI. and Dona Maria I. are buried both. Sometimes he has a flame, inelsewhere. In the chapel of São Theo- dicative of his eloquence, springing tonio is the tomb of the illustrious from his mouth or from his breast. progenitor of the House of Bragança, In Portugal his attribute is univerthe great constable Don Nuno Alvarez sally the infant Saviour in his arms. Pereira, to whose exertions the victory On the day of his canonization, May of Aljubarrota was mainly owing. It 30, 1232, all the bells of Lisbon, says was transferred, by the orders of the the legend, rang of themselves, and late queen, from the church of the the inhabitants found themselves irreCarmo, of which the constable was sistibly compelled to dance in the founder, to its present resting-place, street. He is represented in the habit of a Carmelite. The monastery adjoining this church was one of the largest in Lisbon. The Augustinians who occupied it were transferred to Mafra in 1773, since which time it has been the residence of the Patriarch. The library contains a valuable collection of books. S. Antonio da Sé. A moderate-sized modern church, near the cathedral, erected on the site of the stable in which, like S. Ignatius Loyola, the saint is said to have been born. The fittings are handsome, and there are a number of pictures, but none of much merit. A whole-length of S. Antony is so placed that, through a slit below, worshippers are able to kiss its feet. A short account of his history may not be out of place. S. Antony of Lisbon, as he is universally called in Portugal, though elsewhere known as S. Antony of Padua, was born here, of noble parents, in 1195; admitted Canon Regular of S. Augustine at the age of 15; and transferred to Santa Cruz at Coimbra. Influenced by the arrival of the relics of the five Franciscan martyrs of Morocco, brought over by the Infante Dom Pedro, he was, in 1221, received into that order. He visited Morocco, but his health not allowing him to remain in that country he embarked with the intention of returning to his own. Driven by stress of weather to Sicily, he thence proceeded to Assisi to visit the founder of his Order. After having been a Professor for some time at Padua, he devoted Sonando por se mismas las campanas, En toda la ciudad fiestas se hazian, Que mui solenamente se tañian, So writes F. Antonio de Santa Maria in his poem on the life of the saint. In Portugal S. Antonio is called the Avogado das Cousas perdidas, as S. Rosendo is in Gallicia. "De que ignoramos a causa," says Cardoso, "quiça será por haver acquerido e ganhado para o ceo quantidade de almas perdidas, ou por ter perdido o seu breviario, como querem as nossas velhas, o qual dizem achou no fim de treze dias.” The references to the authors who have written on this saint occupy one of the closely printed columns of Cardoso's Agiologio. The best edition of S. Antony's works is that of Paris, 1641. S. Engracia. Near the church of São Vicente stand the still unfinished walls of this vast edifice. It was intended to form the largest rotunda known, and to have a single altar placed in the centre. The first stone was laid by Don Pedro II., in 1682. "As endless as the building of Santa Engracia," is a Lisbon proverb. It is said that a certain Simão Peres Solis, condemned to death for some offence committed in the church, declared on the scaffold that, in proof of his innocence, the building would never be |