page_title: Palace of Ajuda
section_title: History
hierarchical_section_title: Palace of Ajuda / History
caption_attribution_description: English: Detail of the "Portrait of John, Prince Regent of Portugal" (1802), by Domingos Sequeira. Pictured is the Palace of Ajuda, as it was originally planned, though the project was never completed. Português: Pormenor do "Retrato de D. João, Príncipe Regente de Portugal" (1802), por Domingos Sequeira. Aqui representado está o Palácio da Ajuda, conforme estava originalmente planeado, se bem que o projecto inicial nunca foi concluído.
context_page_description: The Palace of Ajuda is a neoclassical monument in the civil parish of Ajuda in the city of Lisbon, central Portugal. Built on the site of a temporary wooden building constructed to house the Royal family after the 1755 earthquake and tsunami, it was originally begun by architect Manuel Caetano de Sousa, who planned a late Baroque-Rococo building. Later, it was entrusted to José da Costa e Silva and Francisco Xavier Fabri, who planned a magnificent building in the modern neoclassical style.
  Over time, the project underwent several periods when the construction was stopped or slowed due to financial constraints or political conflicts. When the Royal Family had to flee to Brazil, following the invasion of Portugal by French troops, the work proceeded very slowly with Fabri taking charge of the project, later followed by António Francisco Rosa. Lack of financial resources would also result in the scaling down of the project. The construction of the Ajuda Palace, which began in 1796 and lasted until the late 19th century, was a project plagued by various political, economic and artistic/architectural problems.
context_section_description: In 1726, King John V of Portugal acquired three estates in the parish of Belém: one became the Palace of Belém; on the second parcel an Oratory, which was eventually expanded, becoming the Palace of Necessidades; and the third reserved for a summer residence that never materialized during his reign.
  On 1 November 1755, the day of the 1755 Lisbon earthquake, the Royal Family was in Belém, and escaped the destruction of Lisbon by the earthquake and tsunami. Perturbed by the events, King Joseph refused to live under a residence of masonry, and took refuge in a wooden cabin next to the Palace of the Counts of Óbidos (packed with tapestries from the Quinta de Baixo). As the Royal family continued to fear for the viability of the Ribeira Palace in Lisbon, the King ordered the construction of a more permanent wooden building in the heights of Alto da Ajuda; the architects Petrónio Mazzoni and Veríssimo Jorge began building an elaborate structure from wood collected from the Vale de Figueira pinery. The Real Barraca (Royal Tent), or Paço de Madeira (Wooden Palace) was completed on 20 September 1761 (and the first baptism was held in its chapel), but, owing to risk of collapse, the theatre (which was considered a risk by architect João Carlos Bibiena) was reconstructed from 1767 to 1786 by Giacomo Azzolini. The court remained at this site for nearly three decades, in a luxurious atmosphere of the golden age of enlightened despotism, until the King's death in 1777. Since his successor, Queen Maria I of Portugal lived with Peter III in the Palace of Queluz at the time of Joseph's death, the Royal Barraca was vacated.
  In November 1794, during the reign of Queen Mary I and the Prince-Regent, the royal tent was destroyed by fire, although the fire-fighters were able to save the library and church. A more permanent dwelling was conceived by the architect José da Costa e Silva. Starting on 17 July 1795 the rubble and terrain was cleared, which continued on 27 July under the direction of António Vicente. The first cornerstone was laid on 9 November under the direction of Manuel Caetano de Sousa (with a secondary project under the supervision of German Xavier de Magalhães). It was conceived as a Baroque-late Rococo building, but the construction was interrupted shortly after. As of 19 May 1796 the project was supplied by the masons Francisco António and Joaquim Baptista, who brought in stone from Monsanto (Idanha-a-Nova), sand from Alfeite, calcium oxide cooked in Alcântara, tile from the Alhandra, with limestone provided from Pêro Pinheiro, Belas, Vila Chã and Monsanto. The intervention of many architects resulted in a royal decree (9 December 1801) that stated that alterations to the project could only be made in agreement with Manuel Caetano de Sousa, Joaquim de Oliveira, José da Costa e Silva and/or Francisco Xavier Fabri (as long as it economized on the project costs). But, Manuel Caetano de Sousa designed an overcomplicated and intricate Baroque building (which was later criticized by Costa e Silva and Fabri in 1801). But, with mounting confusion and difficulties between the architects and contractors, on 21 January 1802, José da Costa e Silva and Fabri were invited by the Crown to present a new project, in conjunction with António Francisco Rosa and Manuel Joaquim de Sousa, while excluding Manuel Caetano de Sousa.
  In 1802 Manuel Caetano de Sousa died, and by 26 June, Costa e Silva and Fabri were appointed official architects. Costa e Silva and Fabri respected what was already constructed, but introduced necessary alterations to change the Royal Palace into a more dignified, serious and majestic building. Consequently, the plan was simplified and reduced to a core structured around two courtyards, with the same level of ornamentation, but now much more refined.
  On 2 July 1802, the monarch solicited the Marquis of Alorna to study the future paintings that would occupy its walls. Domingos Sequeira and Vieira Portuense were contracted to paint the property, accompanied by Joaquim Gregório da Silva Rato, Manuel Prieto, Taborda, Fuschini
caption: A depiction of how the Palace was originally meant to look like once completed (detail of an 1802 portrait of the Prince Regent, by Domingos Sequeira).
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